The humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
The film quickly reveals that the only angle it’s interested in is the one that most sympathizes Gary Hart.
The Greatest Showman’s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
It’s more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
Joe Wright’s film could fuel an entire series of incredulous episodes of the How Did This Get Made? podcast.
Its exasperating atonality washes out any legitimate idea about identity, education, nature versus nurture, or artificial intelligence.
Ultimately, the time-traveling conceit feels like a shameless ploy to further expand the franchise’s narrative universe.
Possibly year’s most immaculate-looking drivel, a prismatically shot whodunit abundant in red herrings, but lacking in moral contemplation.
This may be the year’s best superhero movie because, for a sufficient amount of time, it doesn’t feel like one at all.
Comic-Con 2013 absolutely cements these cultural developments, where future films aren’t even contingent upon the previous film’s success.
Swordfish is multifariously condescending, but it’s so inherently clueless that there’s no use in getting offended.
The larger-than-life aura that Daniel Day-Lewis breathes into the characters he portrays seems also to have in recent years extended to the actor himself.
With its Oscar clout and inevitable crowd-pleasing matched by widespread critical ire, Les Misérables is easily the year’s most divisive awards contender.
The film’s strongest bit of buzz has been swirling around the lead performance from Naomi Watts, whose tortured turn as the quintet’s mother hen has made her a Best Actress frontrunner.
Adapted by playwright David Lindsay-Abaire from a series of books by Academy Award-winner William Joyce, the film asks too much of audiences.
From Blade to Buffy, we’ve always needed fearless soldiers to battle creatures of the night, and to make sure that the only thing Dracula and company are biting is the dust.