It initially suggests a low-rent blend of a Polanski class parable with a relationship drama in the key of Malcolm D. Lee.
Baggage Claim basically slits its own throat by rendering its entire conceit moot before even getting things rolling.
Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
The film suffers from a scattered plot that makes the story’s overriding theme or message difficult to grasp.
The screenwriters are savvy enough to acknowledge that audiences have moved on from Ethan Hunt and the IMF.
The fun Mission: Impossible – Ghost Protocol could’ve been better, but the Blu-ray is outstanding.
While Brad Bird’s direction is not nearly as fleet as his CV in animation would lead one to hope, it’s not without its pleasures either.
The film plays up disagreements for the majority of its running time only to resolve all dissension in time for the concluding nuptials.
Specific? Sure. But there’s nothing small about this deeply felt coming-of–age story.
The big-studio romantic comedy has become so intractably set in its ways that there’s no longer hope for true innovation.
Visually, morally, Precious is whack, but praise Mo’Nique’s performance (“Fuck a stipend!”) and Gabourey Sidibe’s superior one.
Throughout, you get a sense that Precious isn’t living out a recognizably human tragedy, but a condescending drama queen’s notion of one.
The film is a slab of shoddy, hollow rubbish that can’t be bothered to concoct imaginative frights.
Swing Vote is as tired as its stunt of casting a dozen cable-news blowhards as themselves.
Scott’s next project is a remake of The Warriors. By the time of its release, Walter Hill fans will wish they could fold back time and prevent its making.
Bobby is an overly earnest bit of hero worship buried amidst an especially pedestrian, multi-narrative melodrama.
How to explain the generous reviews granted to the latest film by Tony Scott, the meister of the overbearing, trashy exploitation action genre?
Tony Scott doesn’t even wait for Déjà Vu to properly begin before employing the spastic visual stylings that are his calling card.
A cinematic echo of 2003’s double album Speakerboxxx/The Love Below, Idlewild is two separate movies in one.