Cleansed of all risk and personality, the film subsides, as though with a sigh, into the reheated sauce of mediocrity.
The series suggests a more conventional comedy, with jokes that are intended to be taken at face value.
The long and circuitous narrative history of the so-called OCU weighs heavily on Eric Notarnicola’s film.
Universal outfits Peele’s neurotic, fatally self-conscious film with a luxurious transfer that should please fans.
Peele’s follow-up to Get Out unnervingly speaks to the issues affecting a divided nation.
Flower is a sentimental work of faux nihilism, pandering to children who’re just discovering alienation.
It adds more grist for the mill to the notion that studios don’t hit the big red “reboot” button in any other state than a panic.
The film conjures a menacing perspective on how the titular occupation hulls out empathy and cultivates an unsettling strain of cynicism.
Swanson’s socioeconomic privilege is not unlike that of Lena Dunham’s wayward youths.
Tim and Eric’s defining trait is that they seem too soft-spoken to wield brickbats against established orders.
The Comedy is continuously in danger of feeling either too cute or too abrasive.
In the race to achieve unadulterated fourth-wall breakage, Tim and Eric’s Billion Dollar Movie is the new pack leader.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.
Sundance Film Festival 2012: Tim and Eric’s Billion Dollar Movie and Celeste and Jesse Forever
Illogical and proudly crude plot developments are par for the course in Billion Dollar Movie.