Though it eviscerates the white establishment from the opening reel, much of the film exhibits a deeply conservative worldview, even for 1991.
Selma paradoxically presents nonviolent civil rights protest as something akin to a military campaign.
What will make it essential for future generations isn’t mere flashpoint topicality, but the way it aligns an old struggle with a current one.
Any potential flights of invention or creativity are subordinate to the plain and emphatic delivery of life lessons.
The tawdriness of the 2010 film has been tempered substantially in Machete Kills.
With the film, Lee Daniels quietly pushes his talent for hashing out visceral, violent emotions into unexpected dramatic terrain.
It’s a little disturbing that Brooks’s Oscar-winning comedy should get what amounts to a home-video brush-off.
Chimpanzee’s Oscar is but the latest filmic primate to captivate viewers.
There’s something a little false in the film’s sense of play.
Teh film is a groan-worthy SNL sketch distended to feature length.
Ridley Scott and Steve Zaillian seem determined to snuff out bright patches before they can catch fire.
Not only is the film dumb as a rock, but it’s also far too convinced of its import to be any fun.
We should probably be thankful there isn’t a scene in the movie where Munro gets a hold of Gooding through a glory hole.
One must wonder if someone at Paramount has an old score to settle with Eddie Murphy.
Joseph Gordon-Levitt and Mo’Nique as lovers? Now we’ve seen everything.
Shadowboxer is best aborted, and flushed away as one of 2006’s more unpleasant memories.
Is the film dirty enough for Redman to not clean his act up?
Dirty is clumsier and less earnest than Crash, but it’s every bit as totalitarian.
Now it’s time to say goodbye…Disney closes the doors to its animation studio with the beautifully drawn but lousy Home on the Range.
Home on the Range gesticulates with the sluggish and unceremonious vibe of direct-to-video Disney or Saturday morning cartoons.