The film flits uncertainly between telegraphing seriousness and seeking refuge in camp.
The difference between the film and its equally expensive contemporaries is Luc Besson’s playful, childlike naïveté.
The Transporter is now but a blank slate serving the characters and mayhem surrounding him, a walking metaphor for a franchise that’s run out of gas.
Empowerment porn for those who long for the Cold War’s clarity of purpose and American dominance in this murky age of terror.
Besson commits wholeheartedly to his decades-long preoccupation with waifish young women discovering their inner Shiva.
Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
McG’s technical skill can’t quite overcome the story’s lazy sense of humor and incomprehensible plotting.
In case you haven’t noticed, Kevin Costner is in the midst of what could be a major career resurgence.
The Luc Besson film’s only distinguishing characteristic is how big a mess it makes of its already meager ambitions.
The most enduring critique leveled against the cinema du look is its fixation on surface.
Wondering what the movie version of The Sopranos might look like?
Beautiful Creatures got us thinking about beautiful creatures of movies past—characters not quite human, but quite easy on the eyes.
Taken 2 offers a modest reversion on the established formula.
Not much in the way of packaging or extras. But, then, this is the kind of disc you keep laying around the living room like a coaster.
Who cares about subpar computer-generated work when Guy Pearce is a one-man cartoon badass spectacle all to himself?
If The Lady never quite blossoms in the way one might hope, it’s largely because its subject has never been allowed to either.
Colombiana is a self-righteous misstep from the usually reliable Luc Besson action-film factory.
Hanezu might seem like a very different film from Jeanne, but the two films actually seem to come from similar impulses.
Sleeping Beauty is enervated, ludicrous, and the sort of unique debut that makes one impatient to see what comes next.
Luc Besson’s pulp-fiction assembly line churns out another adequate ass-kicker with Colombiana.