To the annals of romantic stalker comedies, the appallingly creepy Management adds pretension and may blaze new, jaw-dropping territory.
Hardly worth a double-dip, but No Country’s ambient horror will pin you to the floor and slice into your neck with a taut handcuff chain.
Seven Pounds takes the notion of self-sacrifice and pushes it beyond an act of nobility into the realm of a last-chance suicide mission.
Kind of like a roller coaster ride—on a Transsiberian cross-country train—without any of the amenities.
Battle to Seattle is Stuart Townsend’s attempt to fashion a modern-day Medium Cool.
Transsiberian eventually reveals itself to be scatterbrained thematically.
Sleepwalking isn’t made of chilly, prickly metal, but tepid mush.
Did Zak Penn’s The Grand, an improvisational comedy set in the world of poker, cast itself?
This is an unfortunately slim DVD package for the best Oscar top-dog since Million Dollar Baby.
Semi-Pro is perhaps the feeblest entry in the Will Ferrell Sports Comedy canon.
Paul Schrader blends lethargic self-referentiality with anemic political jabs in The Walker.
The Coens bring a touch of levity to their adaptation of Cormac McCarthy’s bleak novel.
A Scanner Darkly looks sweet, but it’s scarcely penetrating.
Nowhere near Robert Altman’s best, but we’re still lucky to have it.
Richard Linklaer is good at capturing the failed intimacy of Generation X.
Throughout, the graceful camera, the movement of characters, and the overlapping voices collectively convey a genial sense of place.
Finally, a movie to bring lovers of bad soap opera and aficionados of golden showers and scatting together at last.
North Country turns on itself like some rabid animal with its leg caught in a bear trap.
One more ’50s housewife role for Julianne Moore and a biopic on Betty Crocker can’t be too far behind.
Kudos to Ratner for at least acknowledging that the film’s gay jokes are cheap-doesn’t make him any less of a prick, but still.