The film knows who it wants to reach, and speaks directly to them without pandering to them.
Everything here wraps up as tidily as it does in your average Hallmark Channel movie.
Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
Though it eviscerates the white establishment from the opening reel, much of the film exhibits a deeply conservative worldview, even for 1991.
The film is a pop sonata of stand-up comedy routines layered with, if not vitality, then at least honest energy.
It seems engineered to give you that initial rush of satisfaction, but leaves you in a dead zone where the only thing you want is more of the same.
As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it’s a tiresome sequel doesn’t save it from being a tiresome sequel.
The film refuses to openly engage the isolationism and hardened cynicism that’s often part and parcel of being a career police officer.
The generous heaping of extras rightfully focus on the inventive comedic spirit of the film.
The core framework of The Do-Deca-Pentathlon feels a bit too basic and familiar for Mark and Jay Duplass.
Like many almost-great comedies, 21 Jump Street is frontloaded with the best go-for-broke gags and lines.
If Robert Altman had made a cop drama, it might have looked and sounded like Rampart.
A hallucinatory near-masterpiece and one of the best American war films produced in the 1990s.
With such a large number of producers behind the mixing desk, it’s impossible for I Am the West to conform to a consistent style.
Essentially Trading Places by way of Next Friday, Lottery Ticket never rises above formula.
Like most Young Jeezy songs, “My President” is a monster.
Like Mamma Mia! and herpes, the inspirational sports drama just won’t die.
It would seem that David E. Talbert has been keeping close tabs on the creative recipe for success concocted by Tyler Perry.
A title like Are We Done Yet? does my job for me.
Not every lesson is composed of what you want to hear.