Throughout, the quick-hit jokes from the show’s rich cast of oddballs serves to suggest a vibrant world outside of the Belchers.
One has to wade through a lot of eye-rolling comic marginalia to get to the film’s pained beating heart.
Bill Condon’s remake actually delivers a remarkably optimistic balm to a festering, existential wound.
Director Jonathan Demme grasps the well of feeling of Diablo Cody’s script and eventually harnesses it in his own image.
Israel Horovitz’s film is basically a three-character play without a single character you can believe in.
Jeremiah was a bullfrog and the film should have stayed on ice, but the new 4K transfer from the Criterion should give fans enough reason to reunite.
The actors are so credible together that one forgives a lot in this movie.
Sophie’s Choice isn’t resonant as a tale of an aspiring writer, a Holocaust history, or trauma parable.
The film is depressing, sub-sitcom fodder that will dull whatever affection you may still harbor for these legendary actors.
Lee’s aching study of the “me” generation provides a stunning array of period detail to give distinct form to the social disconnect and discomfort of the Nixon era.
Monty Python was arguably the most versatile of comic troupes.
You might have noticed that Hollywood’s superhero well is running a little dry.
The film is a lost-dog drama so insufferable it makes one wish its human characters would also run off and never return.
Robert Redford nimbly dramatizes a historical moment that’s politically relevant without being explicitly preachy.
The film misrepresents the difficulties of women with no semi-marketable talents at freeing themselves from their own domestic grind.
No Strings Attached is a desperate movie, scrambling to patch its by-the-numbers story with hastily tacked-on bona fides.
The Big Chill is a master class in Hollywood co-option of fundamentally noncommercial material.
Watching the film’s backstabbing bunch exploit, betray, and reject one another feels painful and pointless.
Shari Springer Berman and Robert Pulcini seem in a desperate losing battle trying to elevate their film above its shtick.
Kasdan’s film, containing respectful homages to a lot of the great westerns, is neither the summing up nor the revival that Kasdan wanted it to be.