In the film, the embrace of storytelling through song and dance is front and center.
The evocative, perhaps purposeful awkwardness of The 15:17 to Paris alternates with ordinary awfulness.
Brad’s Status resonates because Mike White clearly sees Brad’s faults but refuses to judge him for them.
The twisted minds at Lionsgate really outdid themselves with the poaster for What to Expect When You’re Expecting.
There’s something highly endearing about the directness of the movie’s charm.
Well, it was nice while it lasted.
Oh, lying, what a mess you make of things!
Slaves to money and then we die, indeed.
Is it possible for John Stamos to replace Charlie Sheen on Two and a Half Men?
For its first third, Hall Pass zips along crudely but amiably on its sitcom-episode conceit.
It’s getting harder for fictional characters to do something so outrageous that we can’t empathize with them.
Michael Douglas’s star turn in the sour dramedy Solitary Man heralds the return of that era’s skeeviest big-screen persona.
It’s been obvious for some time that, with all due respect to the BBC original, NBC’s The Office is one of the great comedic works of our era.
Saying The Promotion’s tone is all wrong would imply that it had a tone to begin with.
The film gets some mileage out of mocking fatuous biopic conventions.
With The Brothers Solomon, Will Arnett continues to squander the goodwill he engendered as Gob on Arrested Development.
Will Ferrell is not in a joking mood throughout much of the run-of-the-mill featurettes available in the disc’s extras department.
The film gleefully clings to an unattractive frat-boy ethos while squandering the opportunity for real rebelliousness.
Slither is a serviceably fun, if slightly too polished, homage to creature features gone by.