What wonderfully whimsical and winning style this film has, as well as the charm of a season’s worth of movies.
The ensemble acting is stalwart, and the almost lighthearted approach to the subject of sex addiction allows the leads to play some interesting dramatic and comedic notes.
It’s about 2½ hours long, but there’s not a wasted frame in this visually and thematically dark mystery-suspense thriller.
The Family is an uneasy mix of black comedy, family psychodynamics, and graphically violent gangland thrills.
Ironic, isn’t it, that famous recluse JD Salinger would have such an invasion-of-privacy documentary devoted to him?
Chapter 2 isn’t hideous, but it’s just not Insidious. It lacks the first outing’s capacity to disturb.
This third entry in the Vin Diesel Riddick franchise falls somewhere between the previous two in quality.
Many problems have surfaced at a residential foster-care facility, and the staff is prepared to deal with them in a modest but impactful film that crackles with authenticity.
What does the quieter and more thoughtful autumn movie season have in store for viewers before the award-conscious, high-profile holiday movie lineup unveils? Here’s a peek…
Even by car-flick standards, Getaway is a bottom-dweller. Movies don’t come more one-dimensional.
It’s a film to look at and appreciate, but not one to get lost in.
Here’s a decidedly cool movie about an undeniably hot topic: government surveillance and government secrets.
‘The World’s End’ is a smart, bouncy, upbeat science fiction comedy.
What starts out as the most generic of home-invasion horror flicks about a family reunion that turns deadly evolves into a thriller that’s scary, sure, but that’s legitimately enjoyable as well.
Poetic can also be a synonym for “slow. ” The fact of the matter is, Ain’t Them Bodies Saints crawls.