What this movie finally boils down to is a deceptively simple tale of two brothers, and of being one’s brother’s keeper, and of seeking justice on the crudest of fronts.
the black void of death is the darkness du jour in Abrams’s bracingly revisionist melodramedy.
The clarity and inventiveness of J.J. Abrams’s direction keeps the drama and the action constantly percolating.
Beautiful Creatures got us thinking about beautiful creatures of movies past—characters not quite human, but quite easy on the eyes.
The film folds narratives on top of narratives in a vain attempt to mask the fact that there’s nothing to read between its graceless lines.
There’s artistry here, but isn’t it ironic that the title’s blatant essence is the poster’s weakest trait?
Colombiana is a self-righteous misstep from the usually reliable Luc Besson action-film factory.
Luc Besson’s pulp-fiction assembly line churns out another adequate ass-kicker with Colombiana.
It evinces enough hatred of mankind to make Todd Solondz look like a dedicated humanist.
Avatar looks more like a cartoon on the small screen than it did in theaters, but anyone who owns a Pixar film on video knows that isn’t meant as a slam.
Sylvain White’s adaptation of The Losers is the second comic-book movie misfire of 2010 and hopefully the last.
The film takes the audience’s homophobia as a given and then uses that bias as the springboard for a round of alleged comedy.
James Cameron outdoes himself by creating a numinous and oneiric universe.
James Cameron’s Avatar is through and through his baby.
Avatar is a steroidal hodgepodge of been-there, done-that melodrama and paper-thin present-day allusions.
It’s easier to think of the film as a qualified success given its undeniable recovery from a laughably abysmal opening scene.
The Skeptic awkwardly suggests Poltergeist as a 12-step self-help program.
Until 24 is back on the air, we won’t be able to wash the bad taste of Vantage Point from our mouths.
Yet another case of fractured narrative storytelling in service of a story that would be shamelessly cliché if it were told in linear fashion.
The most believable moments in Premium slightly prevail over its inauthentic ones.