The film relies on a bevy of spectacularly funny clips and a plethora of talking heads, most falling back on plaudits rather than sage insights.
Commingling industry shoptalk with introspective insights and wrangling testimonials, the film casts an incredibly wide net.
There’s a lot of underlying potential here, but there seems to have been no one around to whip it into shape.
Word of advice to Madonna: Work with notoriously bratty directors more often.
George Hickenlooper’s fascination with the beast of celebrity reaches a gossipmongering low with Factory Girl.
Luc Besson’s Arthur and the Invisibles clears the smog left behind by the year’s dubious family entertainments.
Come for Jimmy Fallon and Drew Barrymore but stay for the Farrelly brothers’ signature brand of romantic humanism.
The more elegant Bobby and Peter Farrelly’s films have become, the less money they’ve managed to rake in at the box office.
It’s hard to chastise QueenLatifah for wanting to safely sit back, buckle up, and survive this comedic car wreck
Anything Else is just plain desperate.