Riders of Justice ultimately fumbles by abandoning character portraiture for pyrotechnic cliché.
The film proffers the sort of cinematic nowhere place that’s all too common of an increasingly corporate, globalized cinema.
Skyscraper is little more than a faster-higher-stronger amalgamation of Die Hard and The Towering Inferno.
The final optimism of the film’s worldview lands with a conviction that’s rare in contemporary Hollywood cinema.
David Leitch’s Atomic Blonde frequently loses sight of its own action to glibly pay homage to other works.
Land of Mine’s fitful jolts of suspense can’t compensate for the screenplay’s wholly familiar trajectory.
The film plumbs enormous tension by resisting precisely the kind of sensationalism that seems to be the siren’s call for this kind of story.
Tobias Lindholm’s hostage-negotiation drama wields its verité
style for maximum tension.
Since R focuses on complete mental and physical fragmentation, it rightfully separates the desolate locale based on narrative focus.