Fast X is closer to fan fiction or self-parody than the real deal.
Dangerous betrays the promise of its title by playing things extremely safe.
Universal’s 4K disc captures F9’s big spectacle with a perfect audio/visual presentation.
At its best, F9 delivers the most spatially coherent, dynamic car scenes in the series to date.
The film’s command of action defuses concerns about whether it offers a thorough social critique.
The film finally tips the franchise over from modestly thoughtful stupidity into tedious, loud inanity.
It lays bare that the franchise’s most radical asset is also its most conservative: an overriding emphasis on, above all else, the on-screen family.
For anyone who prefers their assertive homilies to crust over like a syrupy sweet, this loose adaptation of Langston Hughes’s beloved holiday tradition will come on like a dream fulfilled.
Justin Lin strives to approximate something like Ocean’s Eleven for petrosexuals.
The filtering aspect of a filmmaker’s strong personality has the redeeming power that committee-obedient, impersonal filmmakers can never hope to acquire.
Fast Five and I have something in common: We both have no use for the first four Fast and the Furious films.
The tedious Legion teaches us nothing, except that Paul Bettany matches a fetching brunette.
“Telephone” has chosen the work of Quentin Tarantino as its visual and narrative inspiration.
Aside from the sight of a monstrous granny climbing a ceiling on all fours, there’s little genre juice to these lackluster proceedings.
Banal, belligerent, and brain-dead, it ultimately succeeds only at being far less than meets bare-minimum cinematic standards.
Films aren’t built on sexy motors alone.
Excise the most entertaining elements from Roger Corman and Paul Bartel’s Death Race 2000 and what you get is Paul W.S. Anderson’s Death Race.
The movie is “more than meets the eye”: an elaborate advert for the U.S. military. “Be all that you can be” would have been more honest.
If Michael Bay loves the military so much, why doesn’t he just marry it?
Vondie Curtis-Hall’s urban action-adventure is far too ridiculous to be taken seriously as either rousing melodrama or politically-minded rallying cry.