The film is a second-rate airport thriller that makes The Hunt for Red October seem like nonfiction by comparison.
The filmmakers lay the groundwork for us to take the story as speculative fantasy, albeit with a real-life outcome.
There’s something to be said for Michael Bay’s turn to less expensive films after crafting quarter-billion-dollar toy commercials for the better part of a decade.
The Machine impresses on the strength of both its ideas and its evocative style.
Severance has the unfortunate pedigree of being dubbed (by its maker, no less) as a cross between The Office and Deliverance.
Terrible film, but you know the DVD is going to be good when the interactive menus all but have sex with you.
How will James Bond now reconcile that he’s become a parody of a parody of a parody?
Its otherwise potent historical discourse is rendered mute by the slightness of LaBute’s romantic and theoretical breath.