Daniel Zelik Berk’s film trots out murky plot twists that leave crucial details needlessly shrouded in mystery.
John Curran creates room for his characters to think and feel and an environment that encourages us to do the same.
The formalism fashions effective textural shortcuts to behavioral understanding that the remarkable cast fills in with finesse.
Ironically, the mildness of writer-director Victor Levin’s film turns out to be its most engaging quality.
This big, brash, occasionally clever, but mostly dumb comedy is so derivative that it feels like playing a game of basic-cable bingo.
Whether by design or otherwise, Dredd seems better-suited to a 2D home video presentation than to the 3D silver screen.
Assuming a gruesome grimness far removed from Judge Dredd, Travis’s film takes a bleak RoboCop-ish approach to its source material.
A Razzie-worthy sci-fi zero gets the undeserving high-definition treatment from Summit Entertainment.
In a year-end season stacked deep with worthwhile films, what possible incentive could there be for submitting to The Darkest Hour’s utter pointlessness?
No Strings Attached is a desperate movie, scrambling to patch its by-the-numbers story with hastily tacked-on bona fides.
A good-but-not-great movie gets a good-but-not-great DVD treatment. Rolling papers not included.
It delivers a rather predictable indie coming-of-age narrative, and Levine’s music video-ish sentimentality doesn’t help alleviate such familiarity.
Throughout, David Gordon Green’s style is as arbitrary as the Cloverfield monster.