The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
Single-minded and direct in its execution, the film is a hard look at the extremes of masculine guilt and healing.
It often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
Professor Marston and the Wonder Woman is a film about eroticism and passion that is neither erotic nor passionate.
Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing.
A Bourne movie turned just askew enough to be funny, Nima Nourizadeh’s American Ultra trains a bemused eye on a trope ripe for a ribbing.
It unites a mélange of teen-film tropes into a narrative overburdened with cultural references and framing devices.
And the jury’s still very much out over whether Shawn Levy is an inept comedy director masquerading as an opportunistically dramatic one, or vice versa.
Essentially the film aims to trade in the awkwardness of teen sexuality, but too often settles for the gross-out gag instead.
With The Fitzgerald Family Christmas, Edward Burns returns to his Irish-Catholic roots for the first time in a decade.
Like other entities branded “too big too fail,” Nashville threatens to collapse under the weight of its poor investments.
The film is a predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
Like Rob Zombie’s Halloween remake (and its sequel), this new take on A Nightmare on Elm Street gives a famous movie boogeyman an explicit psychological makeover
Rather than add to a memorable canon of images, all visions of helplessness, this film simply replicates them.
The redistricting situation of a few episodes ago finally shows up again, as the proposition will be met with a vote from the board.