The film frustratingly shrouds Cage’s manic intensity in thick blankets of winking irony.
The second season of The Flight Attendant keeps its characters constantly on the go even as they face down their demons.
The Promise simply turns this historical tragedy into mere background noise for a flimsy romantic triangle.
A macho celebration of fighting for “freedom” because someone else told you to, devoid of any acknowledgement of the irony of that ideology.
It shrugs off the bigger questions about Iranian politics its first half appears to raise, falling back instead on a gestalt of the eternal, Kafkaesque regime, wherever the viewer may find it.
Disney draws a big fat bullseye on the fast-growing infertile-couple demographic with this airless misfire.
It functions as a message-movie slasher film or, rather, a hot-button Passion of the Christ, replete with the participation of that film’s Jesus himself, Jim Caviezel.
Saddam Hussein might not deserve better, but viewers surely do.
Courtesy of Catherine Hardwicke, the Nativity has become the most boring story ever told.
How does one satirize a show (or a president) that nobody takes seriously anyway?
The Exorcist meets The Contender in the The Exorcism of Emily Rose.
The war between America and the Middle East is in full metaphoric force in Vadim Perelman’s ridiculous eviction melodrama.
Director Ramin Serry does wonders with evocative archival footage and the evolving emotional intensity between Maryam and her mother.