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.
Much like his hero, 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.
For a movie ultimately about what freaks we all are behind the fronts we build for the sake of normalcy, the apathetically performed The Big Wedding couldn’t possibly be more square.
The primetime debut of one of Criterion’s indies-in-residence, Steven Soderbergh’s Oscar-winning drug war epic gets a terrific HD upgrade.
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.