Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
It was clearly conceived by men who have no interest in approaching female friendships with any degree of complexity, curiosity, or respect.
Josh Heald’s script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
By the time a blackmailing plot is introduced, the film seems to be surviving solely on the fumes of curse words and frequent shots of Jason Segal and Cameron Diaz’s backsides.
Robert Ben Garant and Thomas Lennon display a freewheelin’ sense of invention that should be watched closely, because they have the raw stuff of major comic filmmakers.
Lake Bell holds the thing together through sheer charisma, and in fact the foibles of the movie only start to show when she absents herself for extended stretches of time.
Praises the electric carelessness of teenage angst while depicting it as if it were ultimately no more exciting, though no less pleasant, than an hour in the wave pool.
Its views on organized religion are so halfhearted and perfunctory as to make Kevin Smith’s Dogma seem like a veritable master’s class in theistic studies.
An outrageous true-life tale that’s perfectly suited to director Michael Bay’s insanely overblown stylistic and thematic temperament.
It’s hard to exhibit anything other than pity toward Escape from Planet Earth.
Intended, it seems, as a sharp political satire, Butter achieves something a little sloppier and harder to pin down.
The film is a predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
The film’s amplification of scale and subject matter isn’t, alas, accompanied by an upgrade in humor.