Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
With its dull mixture of indifferently staged exposition and action, it suggests a primitive side-scrolling video game.
Tommy Wirkola’s film squanders an evocative premise in favor of rote gun-fu carnage.
It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
It’s at once devoted to corroborating and casting an exaggerated light on Soviet paranoia and the state’s rhetoric of unmasking its enemies.
With its optimistic ending, the film muddies its previous statements regarding the danger of unthinkingly hanging on to totems of the past.
Dumped unceremoniously into a handful of theaters earlier this year, Brian De Palma’s sexy and savage Passion gets a spectacular Blu-ray transfer (and precious little else in the way of supplements) from Entertainment One.
The action merely meanders when it should be hurtling forward, running in circles when one expects it to head toward a conclusion or some sense of resolution.
A serpentine gathering of all of Brian De Palma’s pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
Prometheus pesters its audience into deferring to its thin profundities.
The Millennium completist doesn’t need to be told to pick this up, but would be well advised to understand that the set contains the TV version of the trilogy.
Tawdry is as tawdry does, yet The Girl Who Kicked the Hornet’s Nest often seems at a loss over how to channel its sleazy impulses.
You watch this slick, headache-inducing piece of trash in constant awe of how much lower it could possibly go.