Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly taking on the status quo.
The film half-heartedly teeters between a kinetic action thriller and something a little more low-key.
Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
Director Timothy Reckart’s The Star turns the greatest story ever told into just another kids’ movie.
Out of the Shadows approximates the coked-up frenzy of a particularly chaotic Saturday-morning cartoon.
It typifies Fincher’s style while pushing him in new creative directions, and the minimally loaded BD wisely leaves the film open for spirited debate.
There’s a comic streak to the film that suggests David Fincher may understand the material as trash, but it’s the kind of affectation that only reinforces its insults.
Lionsgate sure has been having its fun with the poster campaign for You’re Next.
When its third act erupts into full-blown theatrical maximalism, it practically turns into a Brian De Palma film.
Testraint doesn’t seem to be an item on Tyler Perry’s menu.
Alex Cross comes to theaters with the distinct timbre of a merger rather than a singular entertainment.
Madea’s Witness Protection is the funniest Madea film yet.
The poster for David Cronenberg’s Cosmopolis is markedly demure, a tame puppy to the preview’s rabid dog.
Tyler Perry’s considerate plotting is attuned sense of people’s evolving feelings and relationships.
Tyler Perry’s film settles for what might be called common sense and apolitical human decency.
Tyler Perry’s histrionic For Colored Girls is purple in more ways than one.
Only time—and, purportedly, a third film—will tell if this move is one of audacity or outright stupidity.
I Can Do Bad All by Myself is as polished and eager to please audiences as it is remarkably inoffensive.
Tyler Perry’s roles as both populist entertainer and social preacher come into disconcerting conflict in this recent films.
Family That Preys is nothing if not an exquisite and effortlessly crowd-pleasing reflection of a morally plagued, money-worshipping society.