Outlaw King rattles along at a bracing pace, but the assured bloodshed of the climax casts a weary shadow over the film’s middle section.
The film is a complication-smoothing take on Jesse Owens’s elegant riposte to Hitler’s racism at the 1936 Olympics.
The film utilizes revolutionary technology and animation for an ostensible nostalgia trip, which has little bearing on this exemplary transfer.
The nicest thing to be said about Cat Run might be that it doesn’t know what kind of movie it wants to become.
Martin Lawrence and director Martin Whitesell have kicked the year in bad studio-produced films off with a colossal bomb.
In the end, it brings us back to reality with the reminder that a condition like depression is not to be negated by one moment of joy.
This fairy tale is fraught with existential questioning, regardless of whether it has a “happily ever after” or not.
By limiting our entry into its protagonist’s headspace, Red Road feels disingenuously committed to sympathetically portraying her situation.
The film’s aesthetic of glacial blue-steel tones and generic heavy metal is distinctive only insofar as it remains comprehensively plagiaristic.
Flight of the Phoenix is remarkably loyal to the Robert Aldrich’s 1965 action yarn of the same name, if only in plot.
Oh, the irony. In support of the National Drug Control Policy’s anti-marijuana advertisement included here, feel free to light up.
There’s no investment. In anything. Welcome to the desert of the reel.