The most enduring critique leveled against the cinema du look is its fixation on surface.
Crossing Delancey is unafraid of its ethnicity and its New York City flavor.
It’s easy to see what displeased critics and audiences alike at the time of the film’s release.
Addiction films are usually propaganda without a specific base.
I say this with love: My father is a master of rhetoric. He is a master of rhetoric without, by his own admission, ever having mastered anything to do with rhetoric.
It’s as much a parody of the new horror breed as it is of the 1950s monster flicks.
It doesn’t hurt, of course, that she seems to have a dash of Sabrina the Teenage Witch about her.
As goofy golf movies go, Caddyshack II isn’t even on par with Happy Gilmore.
My mother hates Charles Grodin, and not for something he did in real life.
Yippie-ki-yay, Voldemort.
Monty Python was arguably the most versatile of comic troupes.
The Dead Pool plays like a greatest-hits collection of Dirty Harry movie elements.
The sequel to Steve Gordon’s Arthur wears its intentions on its sleeve.
While Short Circuit 2 may be dumb, there’s no slickness or meanness to its stupidity.
One of my most memorable and, in a way, profound early movie-watching experiences happened the first time I saw Eddie Murphy in Coming to America.
Is there some sort of a deep political hypothesis nibbling on a carrot and overseeing the action in this film?
It’s hard to avoid feeling that the film would have worked better with Danko flying solo.
Hey, Dad. What’s up? You good? The Braves are doing well this season.
The most miserable thing about melancholy is that it has no object.
Howard Deutch’s film is about manufactured nostalgia, bordering on revisionism, bordering on delusion.