After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
The images have a pleasing straightforwardness that parallels the openness of Cody’s longing for love.
All the narrative hopscotching is little more than a superficial ploy to gussy up a clichéd redemption tale.
The entire world of Ray Donovan feels typified by nothing more than pent-up machismo.
The video transfer on Millenium Entertainment’s DVD release of Trespass looks pretty sharp, with no visible blemishes and absolutely no combing.
Joel Schumacher ravages his film so persistently, it’s only right that it ends with a shot of the mansion up in flames.
Director Terrence Malick recommends that The Thin Red Line be played loud.
Proving that the third time’s not always the charm, War Zone should, with any luck, end the grim character’s celluloid fate.
Like Mamma Mia! and herpes, the inspirational sports drama just won’t die.
Daniel Waters’s pseudo-rom-com ultimately dies a slow death.
Had it been made shortly after 9/11, Firehouse Dog might have seemed like a shameless attempt to marry the country’s reverence for the New York Fire Department with Air Bud.
The film is a listless Godfather-meets-Donnie Brasco tale of undercover surveillance, blood allegiances, and wrenching betrayal.
The film is a silly, self-reflexive lark oozing spitfire sarcasm and nonchalant cool.
“What a ride!” says Joel Siegal. “Totally Cool” responds Gene Shalit. It makes me want to throw up to say that they’re kind of right.
The film is too beholden to action-movie requirements to successfully wrap its head around general geopolitical issues.