The film is a down-in-the-muck advert for an ultimately dewy-eyed vision of the silver screen.
There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
Every Republican regime gets the ludicrous devious-baby saga it deserves.
It’s best appreciated as a tragicomic profile of a man whose extraordinary talent was undermined by the political reality in which he was enmeshed.
A better film would have had the gumption to maintain the poetic bleakness, rather than steer toward what ultimately feels like safe compromise.
Lee’s aching study of the “me” generation provides a stunning array of period detail to give distinct form to the social disconnect and discomfort of the Nixon era.
Graciously and appropriately, Luhrmann eventually lets his gung-ho predilections simmer down.
Decadent prose is transformed into a decadent filmmaking style that defies modesty in the most brutal sense.
It ain’t the nostalgia the repeat offenders at Concept Arts were going for.
Jacob Aaron Estes’s The Details is as smug and self-satisfied as its privileged lead character.
Th extras offer a variety of opinions on the film that absolutely dwarfs the amount of barbiturates ingested throughout the narrative.
Ride with the Devil appeals more to the ears than the eyes and is more literate than cinematic.
Minor Sheridan, perhaps, but freakishly well-acted by Toby Maguire and young actresses Bailee Madison and Taylor Geare.
Jim Sheridan has a gift for capturing glimpses of unvarnished, authentic emotion, and his humanism runs so deep that it’s capable of elevating even standard-issue fare like Brothers.
Change, or the struggle to make change fit into the established system, is Lee’s most familiar chord. He struck it loudest in The Ice Storm.
And Lee and film editor Tim Squyres tie the film together in the masterful, interwoven tension of the night of the storm.
The Ice Storm tries its best to identity itself with the dark heart of the early ’70s.
That Spider-Man 3 is a morality play won’t surprise anybody who saw the first two movies.
Spider-Man 3 sees Spider-Man as a rock star who allows the public’s adulation of his heroism to go to his head.
When everyone tells you you’re drunk, you’d better lie down.