Ryan discusses the film’s serious themes and how they resonated with her as a daughter and a mother.
The film is confused in conception, dreary in execution, and completely lacking in forward momentum.
Shout! wasn’t quite able to rouse itself up to its typical standard with set, which is understandable considering the dullness of the films.
Ephron imbues the film with a self-awareness that remains rewarding in spite of its contradictions.
Next time you snuggle up with your childhood friend, remember these teddy bear stars, who strive to prove there’s more to them than mere fluff.
When I remember Top Gun, I always think of a pair of women’s shoes and a message from God.
Superficial qualities aside, the movies are entirely the same, even line for line in many cases.
Hopefully Serious Moonlight will not become Meg Ryan’s Trog.
George Cukor would have made us side with Eva Mendes and exposed Meg Ryan’s blather for what it is: over-privileged white noise.
Jon Kasdan’s ungainly film is, finally, only grounded in smarmy sensitive-guy fantasy.
Veteran. Agitator. Provocateur. Bully. Conspiracy nut. Patriot.
For God’s Sake, doesn’t anyone in Long Island own a flyswatter?
Amityville 3-D is too poorly written, awkwardly staged, and pathologically stupid to register as campy fun.
Against the Ropes seems derived less from real life than from the Moviemaking for Dummies handbook.
In the Cut fails to communicate the same complexities about men and women that Jane Campion has more deeply explored in her earlier films.
Just in time for Christmas in July. Wrap it up and give it to that woman in your life still hung up on Meg Ryan faking orgasms.
The film’s lackadaisical view of market research suggests truth lies in public acceptance.