Car movies remind us of all the things that can happen when we turn the key.
Review: Emilio Estevez’s The Public Has Its Heart, If Not Its Head, in the Right Place
The film packs as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
It’s been a while since Criterion fanatics have gotten to decry a new, cash-grabbing title sullying the purity of their home-movie shelves.
Men at Work is patient zero for the plague of Charlie Sheen movies that infected the 1990s.
Criterion effectively (and correctly) resuscitates a cult object as a certifiable classic.
There’s little in The Way that doesn’t succumb to platitudinous conceptions of spirituality.
There is very little wowwww in Maximum Overdrive, but it is not as bad as its reputation.
I think the only thing it validates is itself, and the decision to give the Brat Pack the celluloid equivalent of a Reykjavik summit.
A first-time watcher of The Outsiders could easily follow and appreciate the plot without having to listen to the dialogue.
Word of advice to Madonna: Work with notoriously bratty directors more often.
Bobby is not better than JFK but it is not completely without value.
Luc Besson’s Arthur and the Invisibles clears the smog left behind by the year’s dubious family entertainments.
Bobby is an overly earnest bit of hero worship buried amidst an especially pedestrian, multi-narrative melodrama.
The film is an Oliver Stone panorama by way of The Love Boat.