The film is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.
The only saving grace of the film’s mostly recycled horrors is how they deepen Michael Fassbender’s android David.
It goes in for the idea of texture, tics, and human behavior, but there’s no conviction, and no real push for eccentricity.
Showrunner Steven Moffat presents the intersection between Doctor Who and Christmas in the most direct possible way.
It doesn’t take long to realize that Ridley Scott’s adaptation is only aiming for certain forms of credibility, and callously eschewing others.
The D or F CinemaScore can indicate something potentially subversive about the material, whether intentional or not.
The film doesn’t temper enough of Cormac McCarthy’s excesses, but Ridley Scott and his ensemble find enough meat in the scenario to make for diverting, bloody pleasure.
The entirety of the marketing for The Counselor suffers from what I’m calling “prestige-film fallacy” (PFF).
An obsessively detailed chronicle of obsession, Ridley Scott’s debut feature gets a sumptuous Blu-ray transfer from Shout! Factory.
Like Avatar before it, Life of Pi is the kind of Oscar-y prestige pic that also stands as a benchmark for the medium.
Instead of understanding the femme fatale as a genre staple, Grossman wants to dispense of the characterization altogether.
A brick of a set clearly trying to out-super-duper all previous models. A little overkill? Why resist?
Does Looper have a prayer in the Visual Effects race, where tigers and hobbits and Avengers will be sprinting, neck-in-neck?
The Avengers will assemble for what may be the most overstuffed tent-pole ever, and Katy Perry will unleash the first movie that could actually give you cavities.
The film sings an ultimately joyful song.
Do we even need to talk about Dogtooth’s chances?