This Red Bull-produced documentary primarily functions as a promo reel for its star athletes and as a demo reel for its glasses-required special effect.
In Aneurin Barnard’s countenance, it ably locates fear as a consuming, internal plague from which escape, if possible, is arduous and painful.
The film mistakenly assumes that its dialogue-heavy focus will compensate for its dearth of personality.
The film is a half-cocked horror fiasco filled with clichés, pitiful dialogue, and clumsy aesthetics.
Olivier Assayas’s film is content to comfortably coast along the directionless courses charted by its characters.
Given dreadful material, no one in the cast does even passable work.
A final optimistic note reinforces the film’s belief in music as a means of escape.
Frankenstein merely reconfirms the impression that Tim Burton is now coasting on the ghoulish scary-funny style that’s become his trademark.
It’s Cristian Mungiu’s staging and compositional skill that lends the material its true sense of dawning dread.
The film’s only relatable element is the absolute disdain one character has for the titular kid.
Assuming a gruesome grimness far removed from Judge Dredd, Travis’s film takes a bleak RoboCop-ish approach to its source material.
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.
It finds wonder and menace in the adventure of some dusty toys compelled to embark on an epic journey to find one of their friends.
Reviewing The Oogieloves in the Big Balloon Adventure from an adult perspective is essentially fruitless.
General Education assumes the form of countless other teen comedies minus any wit or drama.
Death by China is a marvel at finding ways to sabotage its own credibility.
Juno Temple’s Lily is a damaged creature trying to fly in Little Birds, a film of precious, romanticized misery and squalor.
While the Nitro Circus’s many achievements are impressive, they pale in comparison to those of Johnny Knoxville and company.
In The Dark Knight Rises, evil takes the form of those intent on overturning societal dynamics.
Bart Layton’s The Imposter is an even-keeled nonfiction account of an astounding true-crime mystery.