Rather than feeling grounded in its everyday struggles, Entergalactic comes across more like a black hole of imagination.
tick, tick… BOOM! never quite resolves that tension between well-attended wake and intimate memoir.
In the end, the film’s perpetuation of the franchise’s endorsement of police brutality comes back to bite it.
Jonas Åkerlund’s film gives viewers two well-worn assassin narratives for the price of one.
Like Jennifer Lopez herself, Peter Segal’s Second Act attempts to wear many hats.
Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
Writer-director Ron Krauss’s film is wretched long before its odious ulterior motives come to light.
The tawdriness of the 2010 film has been tempered substantially in Machete Kills.
Jonathan Glazer’s peculiar film is the most original feature at Toronto, and possibly of this year.
Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
Here’s to the extremes of cinema!
One of the effects of Harmony Korine’s feverish, hypnotic style is that the whole thing feels like a fantasy—or rather a nightmare perversion of the American dream.
The marketing behind Spring Breakers cheekily promises just what the gonzo film delivers.
There’s so much more to love here, and even more to digest further.
The specter of George Lucas looms large over Journey 2: The Mysteries Island.
Zack Snyder offers a peek inside his head, which turns out to be a vomatorium of pop culture’s every geeky element.
The sheer absurdity of much of the film’s plot provides the bulk of the entertainment.
Bandslam is a depressingly phony approximation of a teen tragicomedy.
Disney’s song-and-dance robots make the transition from small to big screen in High School Musical 3: Senior Year.