Sylvain White’s adaptation of The Losers is the second comic-book movie misfire of 2010 and hopefully the last.
The film takes the audience’s homophobia as a given and then uses that bias as the springboard for a round of alleged comedy.
Armored displays Nimrod Antal’s characteristic emphasis on his characters rather than the situations into which they’re thrust.
The film only thaws itself out from formulaic rigor mortis via repeated sights of cords, sutured wounds, and frostbitten fingers being severed.
The film resembles the bloated, unfocused full-length albums that would become an industry’s stock and trade.
Quarantine’s use of camera feels like more of an excuse to shoot things fast and cheap than an attempt to provide thematic insight.
This Christmas eventually winds up feeling like a lot of past ones.
The film stumbles whenever it fraudulently gives daily life at Truth University the sound and sheen of a Coldplay music video.
Unfortunately, Steve Pink’s directorial debut isn’t nearly as innovative or cool as Steve Jobs’s line of hi-tech doodads.