Well hi, everybody, it’s nice to see you.
Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
Courtney Hunt’s film ultimately plays as little more than the cinematic equivalent of a trashy airport novel.
Sharon Maguire’s Bridget Jones’s Baby is less a film than it is a series of needle-drops.
A buzzworthy turn overshadowing a movie’s failings is a trend this Oscar season.
If you own the 2009 Blu-ray, and you’re happy with it, there’s no need to subsidize the present custodians of Miramax’s catalogue.
Case 39 impresses in its respect for cinematic space and simple, albeit effective, devices.
Renée Zellweger makes a concerted effort portraying Ann as charming and sympathetic even as the narrative fails to justify either quality.
Monsters vs. Aliens races about in search of the next witty zinger and for-adults-only pop-culture reference.
The film could be summed up in one word that would surely stump its protagonist: “Lugubrious.”
Call it embalmed screwball.
Zellweger’s generic, front-page-ready, girl-next-door smile is outshone by the desperation in Minnelli’s eyes when Sally sings.
The film is as awkward and ineffective as George Costanza’s attempts to wear a toupee.
That the film maintains a tone of sickly whimsy throughout tells you all you need to know about the seriousness of the enterprise.
Perhaps the saddest thing about this debacle is that it’s Chris Noonan’s follow-up to 1995’s Babe.
The blogosphere being what it is, I’m sure the expiration date on Golden Globes commentary has passed.
Time and again, Ron Howard aggressively goes for the syrupy jugular rather than allowing his inherently poignant story to throw its own punches.
In the end, the film succeeds only in applauding a materialistic, self-absorbed audience’s pop-cultural cheekiness.
Shark Tale made me want to immediately start polluting the ocean.
Nicole Kidman’s voice in Cold Mountain is liable to send any man off to war. Except, that is, for Rex Reed.