Jon Stewart’s amiable satire tries to show that you can make light political comedy in the Trump era.
Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
This disc is barebones, so Spike Lee fans will have settle for a solid transfer of the film itself when relishing this fo’ real, fo’ real shit at home.
The film registers an awareness for the narcotic qualities of cinema, particularly films that address matters of race.
Writer-director David Michôd’s film renders existential crises of American entitlement dull and tedious.
It can’t develop themes because it’s too busy disseminating information, and this extends to its main characters.
A Bourne movie turned just askew enough to be funny, Nima Nourizadeh’s American Ultra trains a bemused eye on a trope ripe for a ribbing.
As characters digress on the differences between rom-coms and real life, it evinces a schizophrenic relationship with its own inside-baseball cynicism.
Christopher Nolan’s goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
The premise of faith-based assisted suicide as a motivating factor for a madman’s killing spree is initially intriguing, but quickly revealed as solemn window dressing.
If you haven’t started collecting the individual seasons of That ’70s Show, you’d be a real dumbass to pass up this economy-sized stash box.
The Big Wedding couldn’t possibly be more square.
It would appear that one of the biggest challenges facing movies with huge, starry casts is getting all the actors together to shoot the poster image.
There’s something highly endearing about the directness of the movie’s charm.
The primetime debut of one of Criterion’s indies-in-residence, Soderbergh’s Oscar-winning drug war epic gets a terrific HD upgrade.
Not only does The Double’s outdated theme feel out of leftfield, it’s unexplained and without reason.
The film is clogged with exposition and explanation, paradoxically belittling a story that’s too big for any single telling.
Take Me Home Tonight is too invested in the diminishing laughs to be found in juvenile behavior.
Nimrod Antal’s Herculean task is to trick his audience in making a dopey premise compelling.
An eyesore on the big screen, Valentine's Day is now close to one on your TV. Go read The Sound and the Fury instead.