In the film, the Battle of Midway suggests something out of a photorealistic animated film.
Independence Day: Resurgence does nothing satiric or fleetingly parodic with the notion of a world united in the midst of alien annihilation.
At its worst, the film dangerously repackages the queer experience using language invented by those originally deployed to break it apart.
Roland Emmerich makes love of country into a thing of unabashed hokum, which bleeds through every nook of this overstuffed jumble and leaves no character untouched.
White House Down looks to be the peak of Roland Emmerich’s violent affair with 1600 Penn.
The film’s strongest bit of buzz has been swirling around the lead performance from Naomi Watts, whose tortured turn as the quintet’s mother hen has made her a Best Actress frontrunner.
Roland Emmerich’s film is an interesting case in that it may very well be its director’s best work; however, a better director is the one thing it surely needed.
Anonymous leaves one bereft of any meaningful knowledge of its central personages or the theatrical energy of their age.
2012 could be about any disaster, rendering moot the half-baked proclamations of the Mayan calendar that are so central to the film.
Would anyone want to sit through a film in which hunting and gathering takes precedence over defending one’s honor?
10,000 B.C.’s stereotypically primitive characters have less personality than Stanley Kubrick’s primeval 2001 apes.
“What a ride!” says Joel Siegal. “Totally Cool” responds Gene Shalit. It makes me want to throw up to say that they’re kind of right.
The film is too beholden to action-movie requirements to successfully wrap its head around general geopolitical issues.