Arrow’s release gives viewers the opportunity to experience the original cut of Kelly’s freewheeling satire for the first time.
The moments in which the film’s blockbuster stars play memorably against type are quickly subsumed by the ugly chaos of the action.
The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
Paige’s search for an in-ring persona mirrors the dynamic between performance and identity at work in pro wrestling.
Skyscraper is little more than a faster-higher-stronger amalgamation of Die Hard and The Towering Inferno.
Unlike Gareth Edwards’s Godzilla, which benefited from its Jaws-style slow burn, it’s all noise without crescendo.
The film is unable to reconcile a desire to ridicule its own artifice with constant attempts to foster genuine empathy and dramatic tension.
When it comes to comedy, Seth Gordon’s big-screen Baywatch is a total boys’ club.
The film finally tips the franchise over from modestly thoughtful stupidity into tedious, loud inanity.
Disney’s best animated film in a generation arrives on Blu-ray as one of the finest home-video releases of the year so far.
Compared to your average Disney princesses, Moana is neither selfishly rebellious nor simplistically innocent.
It’s a pity that no one else involved in the making of the film had Dwayne Johnson’s sly intuition.
Ballers is a behind-the-scenes NFL dramedy that’s built from the spare narrative parts of Jerry Maguire and Entourage.
In the film, the biggest earthquake in recorded history is less natural disaster than divorce negotiation process.
It lays bare that the franchise’s most radical asset is also its most conservative: an overriding emphasis on, above all else, the on-screen family.
The film fluctuates haphazardly between semi-serious reverence and tongue-in-cheek camp, with no shortage of opportunities for the inevitable Rifftrax accompaniment.
Paramount jacks up the presentation of Bay’s unexpectedly bold Pain & Gain with a top-shelf A/V transfer.
Justin Lin strives to approximate something like Ocean’s Eleven for petrosexuals.
An outrageous true-life tale that’s perfectly suited to director Michael Bay’s insanely overblown stylistic and thematic temperament.
Instead of long takes, which are lovingly utilized in Step Up 3D, Jon M. Chu opts for increasing volatility in the editing room.