The film could have really benefited from at least a more dynamic baddie.
The film is so riddled with noir clichés that one may initially take it for a genre parody.
Martin Campbell’s film never shakes off its familiarity, and as such seems destined to, well, be lost to public memory.
Blacklight is a series of repetitious, dialogue-driven scenes capped by an inevitable, and uneventful, action-driven showdown.
The film is a muddle of clichés and unremarkable action sequences that bleed together into a cacophony.
The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
It’s to the immense credit of these two great actors that Ordinary Love is so inspiring.
The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
It’s the way the film’s humor specifically subverts its genre’s expected emotional valences that makes it so effective.
The Ballad of Buster Scruggs is a silly, mood-shifting shaggy-dog anthology that feels at once structurally ambitious and almost perfunctory.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The final optimism of the film’s worldview lands with a conviction that’s rare in contemporary Hollywood cinema.
Peter Landesman’s film is a kind of hagiography, and it leans toward whitewashing its subject’s legacy.
A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
Martin Scorsese crafts a versatile, multifaceted work that encourages serious reflection and contemplation.
“I pray but I’m lost, am I just praying to silence?”
Comparisons to Steven Spielberg’s The BFG and Spike Jonze’s Where the Wild Things Are will be inevitable.
A consummate sampler platter of the bounty of state-of-the-art animation currently available as alternatives established major-studio house styles.
The film is a redundant showcase for Seth MacFarlane’s racy, dick-centric sense of humor.
This time around, in spotlighting Liam Neeson’s fatigued charisma, Jaume Collet-Serra’s formidable filmmaking chops have plateaued.