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.
It 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, because they have the raw stuff of major comic filmmakers.
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.
Alexander 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 (and his writing partner, Jim Taylor) had a problem dealing with grief.