This is a film in which Christian Grey owns a pommel horse and gives no indication that he wants to have sex on it.
Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
Steered by a lead actor and director who are both way out of their respective leagues, Jobs is excruciating, failing to entertain and all but pissing on its subject’s grave.
One really can’t blame much of the film’s defects on the source material.
How to Make It in America dramatizes a particular cultural moment with uncommon style and a little grace as well.
The show effectively homes in on that hope-filled effervescence historically associated with the idealized American dream.
Yet another dubious Guevara biopic that sees the man’s ideology as something to be worn and not questioned.
Director Mark Brokaw, making an ill-advised leap from stage to screen, never finds a worthy tone for the film.
Soderbergh’s professed neutrality toward Guevara’s life and times succeeds mostly in leeching the emotion out of them.
Stop-Loss is as much about the war in Iraq as it is about making movies-and like its kin, it isn’t any good.
That Stop-Loss wears its generally good intentions on its camo sleeve doesn’t keep it from being consigned to the missed-opportunity file.
Structurally indebted to Pulp Fiction, the film lacks Quentin Tarantino’s sense of humor and knack for dramatic rhythm.
This this film epitomizes the selling-out of the punk movement.
The film receives a top-notch or, more accurately, honest transfer.
The film is a tenderhearted evocation of a young Latino boy’s conflicts with girls and his own stubborn family.