Patrick Doyle’s wondrously bombastic score sounds as if Franz Waxman were scoring a slasher movie.
The film is contemptible for a belief in its own stature as a daring attempt to parse through the minutia of its core relationship.
Criterion’s Blu-ray for The Fisher King packs an audio/visual wallop, but is undermined by its transparent interest in communal naval-gazing.
This third and supposedly final edition in the franchise is nothing more than an uncomfortably transparent contractual obligation.
Whereas Bad Santa was nastier and riskier, as well as more mischievously winsome, A Merry Friggin’ Christmas is as curiously timid as it is morally dubious.
Robin Williams once again proves he can insufferably crank the energy to 11 without batting an eye, only this time his frenzied comic demeanor is replaced with equally harried contempt.
Arie Posin’s almost offensively “tasteful” dud remains irritatingly on the surface, more alive to the set design than the characters’ motivations.
With the film, Lee Daniels quietly pushes his talent for hashing out visceral, violent emotions into unexpected dramatic terrain.
For a movie ultimately about what freaks we all are behind the fronts we build for the sake of normalcy, the apathetically performed The Big Wedding couldn’t possibly be more square.
Reading the book sort of feels like looking through a photo album, in that it’s a series of condensed case histories, one after another after another, often to the point of monotony.
The krill subplot is even thinner than the penguins’, to the point where it scarcely has any reason to exist.
It has all the strong markings of a Gus Van Sant movie and Lionsgate shows the film requisite care on its Blu-ray transfer.
I spoke with Joseph last month, when the play was still in previews.
Sometimes an inner demon can be silenced with a single dirty joke.