Its simple but valuable moral lesson finds comfortable enough expression in an aesthetic that’s banal but consistent.
The primary model for Jared Moshe’s The Ballad of Lefty Brown is a particular strand of postwar western.
Jim Caviezel commits only to the level of God-like omniscience that Mel Gibson whipped into him a decade ago.
This almost weirdly resonant Stallone vehicle nets an attractive transfer that should please hardcore action fans and genre tourists alike.
It’s doubled down on its intrigue to hastily evolve from a bland procedural with a nifty visual aesthetic into a solid action-thriller.
The film preaches a familiar strain of cynical, unchallenged self-righteousness in the face of widespread abuse of civil liberties.
The film is impossible to take seriously as a commemoration of Moultrie’s life or Allen’s prolific status because of its plethora of contrivances.
There isn’t a single interesting person in CBS’s dud-on-arrival Person of Interest.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
Director Terrence Malick recommends that The Thin Red Line be played loud.
When you place Jesus at the center of a film, or any work of art, you’re making a religious statement of some kind.
It functions as a message-movie slasher film or, rather, a hot-button Passion of the Christ, replete with the participation of that film’s Jesus himself, Jim Caviezel.
Bobby is an overly earnest bit of hero worship buried amidst an especially pedestrian, multi-narrative melodrama.
How to explain the generous reviews granted to the latest film by Tony Scott, the meister of the overbearing, trashy exploitation action genre?
A point emerges, this notion that we’re all born good, but it’s not one that gets a concerned workout.
Ben Tibber unaffectedly conveys the fear and wariness of a boy whose life has been nothing but a prolonged nightmare.
Luis Mandoki’s Angel Eyes could pass for a lost M. Night Shyamalan film.