The film’s emotional resonance feels hollow, watered down by an overstuffed plot that bites off more than it can chew.
Kidnap is an efficient vehicle for the delivery of some lean action that’s weakened by a scarcely whip-smart script.
The film is lazily content to simply put its female characters through the potty-mouthed, gross-out comedy ringer.
An Inconvenient Sequel is usually transparent in its unbridled and excessive adulation of Al Gore.
Its shameful exploitation of Africans doesn’t stop with the privileging of the love affair between two white doctors.
The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
Endless Poetry eventually, like young Alejandro, opens itself up to the world in all of its beauty and complexities.
Director Will Raee’s film takes its cue from the Toddlers & Tiaras school of reality TV child exploitation.
Aside from vilifying the Nazis, the ideological endgame of Oliver Hirschbiegel’s film remains a bit too slippery.
Santiago Mitre’s film is appropriately unsettling and disconcerting in its examination of female empowerment.
The Recall has the look of a SyFy original movie and the self-seriousness of Ridley Scott’s recent Alien films.
Johannes Roberts’s 47 Meters Down can’t help alternating between the genuinely terrifying and the just plain dumb.
Jonathan Mostow luxuriates in the pure surface pleasures of the his many taut, formally dynamic action sequences.
Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
Its incoherent turn of events attempts to stupefy us into mistaking its deeply flawed internal logic for ingenuity.
Writer-director Robin Swicord’s film seems content to merely carry out its absurdist premise until the bitter end.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
The film earns its emotional catharsis while staying true to its roots as a truly chilling and intense thriller.
The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.