George Armitage’s captivatingly eccentric neo-noir is assisted by three magnetic leads and a healthy dose of black comedy.
Ed Helms and Patti Harrison’s wonderful rapport helps to keep the film grounded in the recognizably real.
Arrow’s release gives viewers the opportunity to experience the original cut of Kelly’s freewheeling satire for the first time.
The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
Director Jeff Tomsic’s debut feature film, Tag, is exactly the Terms of Endearment our era deserves.
If ever there was a movie equivalent of dad bod, Entourage is it.
Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
Writer-director Jordan Roberts’s film relentlessly piles on one eccentric contrivance after another.
A hallucinatory near-masterpiece and one of the best American war films produced in the 1990s.
There’s plenty here to keep the attention of both stoners and cinephiles alike.
Among its achievements, Pineapple Express makes explicit much of the underlying homoeroticism inherent in the buddy movie.
Teen horniness is not a crime but Southland Tales is.
If Donnie Darko was Richard Kelly’s Eraserhead, then maybe Southland Tales is his Dune.
November is a third-rate whodunit which clumsily employs the gimmicky Sixth Sense template for its tale of trauma-induced denial.
Love always has the last word? No, love means never having to see this movie.
To see Laws of Attraction is to see an actress play the fiddle while her reputation burns.
If your male child is at all fond of post-’80s Nickelodeon, the lame Max Keeble’s Big Move is sure to be this weekend’s hottest ticket.