The series plays out more like soap opera or a full-blown farce than a grounded satire.
The remake is, yes, a nostalgia play, but the source material has been given a new spark.
Throughout, the quick-hit jokes from the show’s rich cast of oddballs serves to suggest a vibrant world outside of the Belchers.
The film celebrates individuality even as it suggests that everyone needs their own A.I. tech to validate everything they like and think.
The humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
A Wrinkle in Time’s by and large cramped worlds never look like anything other than animated projections.
Still one of the most fun sugar rushes of the year, the film arrives on home video with a shimmering, chromatic video transfer.
The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
By the time the film limps toward its Marrakech-set epilogue, its experiment in social osmosis is as much a failure as its B-sitcom-grade yuks.
Jared Hess’s film turns out to be a succession of failed jokes punctuated by a few cathartic laughs.
Baskets quickly devolves into a dreadful, if strange and intermittently fascinating, comedy of bleakness.
The film’s Hollywood skewering is constantly spoon-feed to us like strained bananas.
Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
The female characters on Mad Men are probably the show’s strongest asset, but here they’re hollow to the point of insult.
The Hangover Part III is a sequel every bit as disposable as its predecessor.
Don’t look to The Campaign for a sustained lampoon of the U.S.A.’s lamentable governing duopoly.
Mansome is only fitfully amusing and doesn’t have anything particularly interesting to say.
Tim and Eric’s defining trait is that they seem too soft-spoken to wield brickbats against established orders.
A veritable romper-room presentation of this lovable (or, for some, insistently love-craving), reflexive musical comedy.
In the race to achieve unadulterated fourth-wall breakage, Tim and Eric’s Billion Dollar Movie is the new pack leader.