In its second season, the show’s leisurely road trip downshifts into a total lethargy.
The film’s satisfyingly tactile action set pieces serve to hammer home just how perilous the space race really was.
Skyscraper is little more than a faster-higher-stronger amalgamation of Die Hard and The Towering Inferno.
The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
Den of Thieves displays a reverence for the taut and moody tension-building tactics of Michael Mann’s Heat.
In the midst of its social outrage, American Gods has made room for a warped and modern romantic comedy.
In American Gods, deities work in a fashion similar to that of politicians, as both bedazzle the public.
The episode satirically equates exposition to sales as necessary binding agents of contemporary life.
There’s something to be said for Michael Bay’s turn to less expensive films after crafting quarter-billion-dollar toy commercials for the better part of a decade.
The complicated psychological realities of army personnel require a tougher directorial treatment than the maudlin melodrama presented here.
Throughout After, the filmmakers crank the trials of the film’s Valentino family up to 11, sans irony or subversion.
Chockablock with instances of characters not shooting, running, attacking, or sneaking away when they can or should.
The film’s principal project is to trade in questionable racial characterization as a catalyst for its white protagonist’s personal fulfillment.
