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 films that Robert Rodriguez emulates here are known for similar unexpected narrative turns, but the crucial value that he misses is their actual cheapness.
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.
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.
There’s so much more to love here, and even more to digest further.
The sheer absurdity of much of the film’s plot provides the bulk of the entertainment.