It’s easy to dismiss the show, and just as easy to fall in love with its characters.
The special is most compelling when the cast is allowed to just revel in their surroundings and reminisce like old friends.
The series is an uneasy, sometimes nauseating, and often fascinating examination of our current moment.
Ater a while, the film’s didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
You may want for something to hold on to, but actors Tye Sheridan and Alden Ehrenreich slip through the fingers.
Josh Gordon and Will Speck’s Office Christmas Party generally smacks of trying too hard to earn its laughs.
Maybe it’s not the worst thing in the world that Storks doesn’t take many cues from Pixar’s tear-jerking playbook.
Familiar as its art/life paralleling may be, it’s all fueled by a filmmaker with an intimate relationship to his subject matter.
The Daniel Barnz film interestingly insists on the audience judging its main character, which places us in a potentially uneasy position.
If your answer to the question “When are rape jokes funny?” is anything aside from “never,” the good news is that you may still find a lot to hoot over throughout the film.
Down to its too-crisp rubber Nixon masks, Daniel Schechter’s film revels in obnoxiously self-aware period detail.
Vallée attempts a gritty approach to the inspired-by-true-events, issue-driven biopic formula.
The cast partially eschews the family-friendly timidity that the film defers to in the end, but this would-be wild thing remains little more than a rowdy endorsement of the status quo.
Tati and Godard would undoubtedly be amused with the August traffic jam Hollywood has made for itself.
The all-access pass the film affords viewers on the outside looking in turns out to be a double-edged sword.
Wanderlust wags a limp dick at a host of up-to-the-minute issues.
On the frat-comedy tolerance scale, Horrible Bosses just about breaks even.
The Switch remains another easily disposable entertainment built out of the rubble of a promising literary prospect.
Considering the sorry state of American romantic comedies, Just Go with It’s wholesale predictability is a moot point.
Growing up requires occasionally yielding to, if not the stark darkness, then the bewildering gray of interpersonal ethics.