The series takes itself a touch too seriously to succeed as a farce but draws its characters too broadly to achieve any real pathos.
The hot streak for Irish animation studio Cartoon Saloon cools with My Father’s Dragon.
The Hulu series plays like an exceptionally late attempt to catch the long tail of meta sitcoms.
As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
Alan Ball quickly loses sight of the sense of power that fuels the film’s early moments when his characters basically just gaze at each other.
The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
One of the finest, most distinctive Marvel productions yet gets an expectedly sterling home-video release.
There’s barely a single scare in this Halloween that isn’t undermined by some forced bit of funniness,
The film is committed to the idea that heroism isn’t a burden but an uplifting realization of our best qualities.
The evocative, perhaps purposeful awkwardness of The 15:17 to Paris alternates with ordinary awfulness.
Self-absorption is director Bravo’s focus, though it’s a topic that’s less examined than indulged.
Matt Reeves’s War for the Planet of the Apes is a film that resides in an ethical grey zone.
Craig Johnson’s film lurches from poignant melancholy to cartoonish slapstick, unable to settle on a consistent tone.
Katie Holmes’s film is more earnest than remarkable, but with its heart in the right place.
The film’s larger points essentially fall by the wayside in the name of black comedy that’s largely without genuine edge.
Paul Weitz’s proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
Compounding the leaden pace are the shoehorned references that connect the film to the continuity of the Marvel universe.
It can’t tell whether it wants to be junk food or not, lovingly poking fun at some Hollywood tropes while shamelessly indulging others.
Manglehorn is too talky by half, especially when two or even three scenes are superimposed on one another.