Like the film, Dave Bautista’s Knox is a copy of a copy, shorn of the details that distinguish a true original.
The Mamma Mia! sequel’s flaws are overridden by infectious moments that, to take a cue from ABBA, you couldn’t escape if you wanted to.
The filmmakers don’t bring the main characters’ contrasting methods of divining truth into total opposition.
Even overlooking its account of an inexplicable political resurgence, it falters in its needlessly convoluted plotting.
The film’s emotional resonance feels hollow, watered down by an overstuffed plot that bites off more than it can chew.
Shots of the sun open and close Mister Johnson, but the sun won’t soon be setting on the film, thanks to Criterion’s shimmering 4K Blu-ray transfer.
The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
A hodgepodge of horny-old-man clichés writ large, staged as a gleeful affirmation of its male lead’s ego and entitlement.
This is the kind of filmmaking that gets touted as “workmanlike” when it’s really straight-laced to the point of tepidness.
Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
An inept trifle, Pascal Chaumeil’s film reduces Nick Hornby’s novel of the same name to a series of smug self-help gestures.
We’ve compiled a list of the finest film performances delivered by actors this year, at least until this point.
It seems as if Susanne Bier set out to create an absurdist comedy, but lost her nerve somewhere along the way.
For young girls who don’t care for politics but love Twilight, Remember Me is a 9/11 story they can truly wrap their arms around.
There is much cuteness, but also much danger, as in baby turtles hatching from their eggs in daylight and being eaten by birds as they scurry toward the sea.