The film falls back on a reductive rumination on the balance between maternal obligation and career aspiration.
A very charitable reading might say that Roman Polanski’s Based on a True Story is designed to be self-negating.
Tim Burton’s direction reminds us of the distinct, peculiar coyness that was always at the heart of his best films.
The Salvation is hemmed in by its fealty to the ghosts of westerns’ past, though a good, game cast offers quite a bit of compensation.
Kristian Levring’s film achieves nothing more than hollow caricature, too caught up in dumb dress-up pageantry to accomplish anything else.
Gregg Araki’s film suggests a hothouse melodrama that’s been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
Whereas a single, stinging one-liner would have sufficed Tourneur or Lang, Miller’s overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
It’s too neat, too tasteful and narcotizing, for a work that’s full of diseases and serial killers and classist atrocity.
The film leaves no doubt of the original’s influence, but to watch it is to sit dumbstruck at the cynicism of Hollywood bean counting.
If you’re a seasoned fan, or even looking to dig into the series for the first time, Bond 50 is an essential package.
The whole shebang is just a prolonged setup for a bear fight.
Finally, a Bond adventure one can enjoy without apology.
Casino Royale is one of the good ones and not just for the way it wittily recontextualizes several series touchstones.
Between Elizabethtown, Domino, and Kingdom of Heaven, Orlando Bloom and the Brothers Scott have this week’s film and DVD market cornered. What have we done to deserve this?