Professor Marston and the Wonder Woman is a film about eroticism and passion that is neither erotic nor passionate.
Director Ido Fluk’s The Ticket steadily devolves from a unique character study to a blunt morality tale.
Every incident in the film is a time-biding maneuver, completely and unimaginatively untethered from logic.
If it’s meant as a pulpy genre exercise, Matt Shakman’s competence in various modes works to strip it of any sense of coherent vision.
Whereas Bad Santa was nastier and riskier, as well as more mischievously winsome, A Merry Friggin’ Christmas is as curiously timid as it is morally dubious.
Kino presents Jonathan Demme’s dark, irreverent romantic comedy with an admirable A/V transfer, but skimps completely on the extras.
The film devolves quickly into a pedestrian character study that basks in Gary Webb’s public shaming and victimization.
With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
Jon Favreau’s film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
The thinness of the material is only accentuated by the cast’s spirited efforts to pad it out.
Sally Potter packs so much detail and thematic heft into 90-minute films that, given her elliptical and often unemphatic presentation, feel tantalizing but never overstuffed.
Matthew Vaughn’s film is smothered in numbing exhibits of conspicuous consumption.