The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
With scalpel-like precision, the film exposes the agonies of fathers, sons, and brothers.
When it decides to sober up, the film’s comedy lurches into awkward attempts at melancholy.
This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
Throughout Gold, Zac Efron seems almost determined to wipe away the last vestiges of his youthful looks.
The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
With the film, Harmony Korine solidifies his position as the premier cartographer of the Sunshine State as a place of unhurried pursuits.
The Greatest Showman’s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
It perfectly communicates the surreal hell of what the original production of The Room must have been like.
When it comes to comedy, Seth Gordon’s big-screen Baywatch is a total boys’ club.
Much like with Neighbors 2, Mike and Dave’s obvious ace in the hole is its commitment to gender parity.
The film’s expected rehash of recent pop-culture totems is accompanied by a novel attention to millennial-centric debates about entitlement and identity politics.
The film emerges as something chillingly akin to the unholy love child of Judd Apatow and Donald Trump.
As Zac Efront’s Cole tiptoes away from his past, the film keenly observes a character who doesn’t know how to secure his future, or his identity.
Of greatest damage to its coherence is its wholehearted belief that its subjects are offering firsthand reports worth hearing.
The promo materials implore us to vote either #TeamFrat or #TeamFamily on Twitter, though we’re way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.
Its obsession with male genitalia, or, more specifically, penis receptacles, is emblematic of its aura of male entitlement and its consideration of women as prizes to be lanced.
The Peter Landesman film’s overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for something.
Alternates between business-world morality play, family drama, and portrait of a local community without ever comfortably integrating these disparate elements into his messy stew.
For better or worse, Lee Daniels has managed to deliver one of the year’s most unforgettable movies.