If there’s any import to Lawless, it’s in the visual inversion of small-town myths.
The filtering aspect of a filmmaker’s strong personality has the redeeming power that committee-obedient, impersonal filmmakers can never hope to acquire.
As in his superior original, Oliver Stone’s follow-up damns with one hand but can’t help glorifying with the other.
Wall Street: Money Never Sleeps plays a bit like a knowing self-parody of Olive Stone’s typical bombast.
In the end, the action is insulting not because it’s merely uninspired, but because it’s inherently lazy.
Banal, belligerent, and brain-dead, it ultimately succeeds only at being far less than meets bare-minimum cinematic standards.
The film may not be Raiders of the Lost Ark, but it’s hardly Spielberg and Lucas raping your childhood hero.
It’s outdated, banal paranoia given a superficial, big-budget contempo polish.
Equilibrium is a condition all too rarely achieved by the bloated Indiana Jones and the Kingdom of the Crystal Skull.
The movie is “more than meets the eye”: an elaborate advert for the U.S. military. “Be all that you can be” would
A solid DVD package for this disposable but nonetheless game attempt at giving Generation Y a Rear Window to call its own.
If Michael Bay loves the military so much, why doesn’t he just marry it?
Kids won’t get Surf’s Up, and adults may smell a con.
Awful title aside, Disturbia’s reworking of Rear Window for the YouTube generation is pretty nifty.
Bobby is not better than JFK but it is not completely without value.
The film is an Oliver Stone panorama by way of The Love Boat.
The contest between one’s desire to flee home and the attraction to the formative people and places of one’s youth forms the
From down-home Christian horror to Disney?
If you’re a keeper and not a renter, you’ll want to go for the two-disc DVD of the film.
Francis Lawrence is a skilled copycat, and his adeptness at creating a mood of otherworldly unease helps make up for his story’s