Tampon cauliflower, anyone?
Best exemplified by its fixation on culottes, the film never feels like more than a half-formed in-joke between close friends.
The film shows a preference for forgiveness over vengeance, which feels like an okay way to end this particular year.
You can feel Fox’s new animated series figuring itself out in its first episode.
The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
The film is noteworthy for its rumination on the subtle costs of its characters’ newfound prosperity.
Payne’s defenders might call his often acidic touch Swiftian, though it comes off more toothlessly noncommittal.
Its wackiness is only occasionally laugh-out-loud funny, but it’s still executed with good-natured breeziness.
Jared Hess’s film turns out to be a succession of failed jokes punctuated by a few cathartic laughs.
This animated film isn’t willing to completely face the bleakness of its allegory of faith versus skepticism.
When it’s good, director Paul Feig’s Ghostbusters is funny, driven, sometimes even a bit scary.
The film is frequently guilty of the same obsolescence it accuses the characters of embodying.
The film is a compelling addition to Sebastián Silva’s cinema of compassionate comeuppance.
The film goes in for the idea of texture, tics, and human behavior, but there’s no conviction, and no real push for eccentricity.
It rejects a fawning (or even particularly detailed) account of mental illness in favor of a plunge into the deep end of a bottomless ego.
True to its title, Marielle Heller’s adaptation of Phoebe Gloeckner’s novel has the loosely structured, unfiltered feel of a young person’s diary.
We hope to shine a little light on brilliant, touching, often funny performances which enrich our understanding of what it means to be human.
Craig Johnson’s film is ultimately most interested in what its jokes are implying or obscuring about the jokesters themselves.
Dean DeBlois’s film has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of “everyday” people.