So often is it rehashing moments already handled expertly by Raimi’s films that Amazing Spider-Man never takes flight.
It could have used more Portal 2-style cleverness, excitement, and danger in order to truly push it to the head of the puzzle-oriented pack.
Flatulence, racism, sex, profanity, drugs, homophobia, and more lazy pop-culture references than a sane mind can stand all animate the film.
Vampire Hunter feels like a flashy corpse largely drained of its comedic lifeblood.
Kirby Dick’s nonfiction cinema drags ugly truths out of the shadows and into the light.
Adam Sandler’s celebration of stunted-maturity stupidity continues unabated in That’s My Boy.
Rock of Ages eventually ends, but that doesn’t change the fact that enduring it feels like eternal torture.
A coherent characterization of Robert Pattinson’s striving schemer is nowhere to be found in this pedestrian period piece.
The film treats its headline-ready topics as merely window dressing for a whodunit that’s without intrigue or surprise.
The film proves incapable of striking even a faint comedic spark.
Chernobyl Diaries is little more than decomposed horror leftovers.
Those hoping Rockstar Games was going to bestow the grizzled hero with an open-world crime saga will be sorely disappointed.
What’s most insulting about Battleship isn’t its awfulness, but that everyone involved knew it was a terrible concept from the get-go.
Independent video-game production provides the milieu for an empathetic portrait of artistic anxiety and risk-taking in Indie Game: The Movie.
God Bless America takes caustic aim at American vapidity, stupidity, and love of lowest-common-denominator values.
borderline-mindboggling extent, Girl in Progress actively discourages thought.
Evil is Samuel L. Jackson breaking into an Edward G. Robinson voice and wearing a black, 1920s-style gangster suit and fedora.
Okay, so maybe it’s not an exact replica of Sucker Punch’s stellar 2011 effort, but it’s close.
The film is merely a grim retread cast in a two-decade-old mold.
It’s Jason Statham’s badass grimace and combat acumen that elevate Safe above your average direct-to-video genre work.