The film is as hilarious as it is pointed, with its dialogue distinctly attuned to the Gen Z mindset.
The film is an un-aerodynamic vehicle of uncertain design, packed carelessly with origin storylets and pop-cultural flotsam.
It uses the mawkishness of a Hallmark Channel movie as an ironic backdrop for a twisted Hitchcockian thriller.
The Program is flashier and more self-conscious than many biopics, but it’s ultimately just as hollow.
Most affecting in its depiction of friendship, and the performances represent platonic male intimacy in convincing, often moving ways.
At its best, it forgets to be a Marvel movie, casting off corporate shackles to let its freak flag fly.
The series is a hungry anticipation for what machines can and will do, but it only has a cursory interest in the complex humans that built them.
A once-precious franchise’s weakest installment, which forgets these adventures’ magic was never conjured by bells and whistles.
The film is going to net a lot of undue, hyperbolic ink, simply because it’s the first Twilight installment that’s compulsively watchable.
Lincoln may further the heroism so associated with its subject, but it’s no bleeding-heart glamorization.
Its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
The show’s powerfully invasive aesthetic conveys the idea of our moral and political consciousness struggling to free itself from inaction.
As evinced by his debut feature, writer-director Max Winkler is clearly going through a Wes Anderson phase.
Marmaduke is exactly the kind of mind-numbing kiddie trash that parents dread taking their kids to.
Tarsem Singh’s transgressive visual statement revolves around two layers of fiction.
The Fall is a wearying nosedive through a self-indulgent imagination.
The film is brisk, peppy, light on its feet, and tries awfully hard to be reminiscent of a fast-talking Depression-era rags-to-riches comedy.
Ned has very interesting (albeit unenviable) powers, but he’s not the most interesting character on Pushing Daisies.
Infamous has gotten nowhere near the level of acclaim as Capote, proving that victims of hype don’t come more transparent than AMPAS.
The film does Truman Capote justice and makes a sharp case for the power and destructiveness of liberated feelings.