In its second season, the show’s leisurely road trip downshifts into a total lethargy.
The Nut Job 2’s episodic plot is little more than a clothesline on which to hang manic action sequences.
A worthy escalation of its predecessor’s sleek charm, John Wick: Chapter 2 is the finest action film since Mad Max: Fury Road.
The episode is deeply critical of America, yet offers a glance toward the possibility of salvation.
It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
The film remarkably balances its predecessor’s spartan characterizations and plotting with an expansion of scale.
Based on one of Eli Roth’s parodic trailers, the film is a lifeless treatment of an amusing and unsettling concept.
The premise should be prime fodder for director Wim Wenders’s brand of poetic regret.
Writer-director Anders Morgenthaler’s film is practically an exercise in over-explication.
As juvenile and frivolous a wish-fulfillment fantasy as one might expect from the visionary behind the Princess Leia hogtied to Jabba the Hut.
The cacophony of visions, broken mirrors, and mutilations only points to the ghost in the machine respecting The Craft as its spirit animal.
It puts more focus on delivering a jokes, imitations, zippy repartee, and sight gags than its plot’s familiar machinations.
It’s another modern dystopia parable, which rehashes the same few superficial humanist/socialist platitudes over and over again, with such reliability as to nurture our complacency as effectively and insidiously as a Capital One ad.
Paco Cabezas’s film is little more than a revenge relic pretending that the ethical treatise of David Cronenberg’s A History of Violence never happened.
As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it’s a tiresome sequel doesn’t save it from being a tiresome sequel.
I was telling Sven about the time Edna bought that Blu-ray there and then he told me they came out with another one with a better image, doncha know?
It’s fair to say that a filmmaker is thinking outside of the box when he or she stages a scene in which an ambulatory hemorrhoid tears a guy’s cock off with its teeth and swallows it.
Disappointing supplements notwithstanding, Lionsgate’s BD release of the under-seen The Last Stand does well by a film that’s proud to be small.
Stephen Fung’s pop-up graphics and jazzy fight scenes feel part of an unwieldy mix in which the director just throws whatever half-baked conceits up on the screen he feels like.