The limited series is a carnival of horrors weighed down by moralizing, hysteria, and cross-associations.
The film renders a vivid world of drunks and schemers who live marginally on the outskirts of Los Angeles.
The film is lazily content to simply put its female characters through the potty-mouthed, gross-out comedy ringer.
Nonsensical characterizations abound throughout The House without ever dipping into unbridled absurdity.
When it comes to comedy, Seth Gordon’s big-screen Baywatch is a total boys’ club.
The film provides materials for discussion without directing the viewer toward a particular solution or easy answer.
Keanu is declawed by design, but it’s hard not to wonder what the cat could’ve dragged in.
Robert Ben Garant and Thomas Lennon display a freewheelin’ sense of invention that should be watched closely.
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.
Kirk Jones’s film takes procreation not only as its central theme, but as a given.
Payne’s lovely, resonant fifth film does the hula on a lonely island of imminent death and wasted life.
On the basis of About Schmidt, you’d think Alexander Payne had a problem dealing with grief.
As innocuous as it is, the well executed, well-meaning Life As We Know It is full of isn’t-this-charming moments.