Tampon cauliflower, anyone?
The film is at once a journey of self-actualization and a testament to female solidarity.
The Bubble’s toothless showbiz satire mostly comes down to teasing its characters for their entitlement and self-importance.
The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
The film curiously avoids exploring the complexities of introducing the Beatles’s music into a radically different milieu.
The Spy Who Dumped Me’s blasé attitude toward violence feels out of step with the low-key comedic energy of its leads.
The film rarely presents a clear analysis of Ruth Bader Ginsburg’s victories, reducing her work to empty slogans.
Any potential subtext of Munro Leaf’s children’s book has been bleached out in the marketplace-oriented Ferdinand.
The animation’s careful attention to detail is undermined by an anxious pandering to contemporary sensibilities.
To some degree, Rough Night’s attention to character detail compensates for its weaknesses as a comedy.
Josh Gordon and Will Speck’s Office Christmas Party generally smacks of trying too hard to earn its laughs.
Jared Hess’s film turns out to be a succession of failed jokes punctuated by a few cathartic laughs.
When it’s good, director Paul Feig’s Ghostbusters is funny, driven, sometimes even a bit scary.
The film follows its predecessor in being broadly concerned with comforting notions of home and family.
The Angry Birds Movie is a lot of things, but none of them true to the app’s appeal.
Breaking the laws of human nature is an ancient comic convention, but it only works when it leads to a laugh.
This is a sports movie actually attuned to the knowledge that victory in an inconsequential game bears no meaning.