Latest Film Reviews
The Cutting Edge (1992)
The only thing that could make
The Cutting Edge
more absurd would be if the final competition revolved around a potentially deadly, possibly illegal move called the Pamchenko Twist. Wait, it does? Never mind.
Four Weddings and a Funeral (1994)
Not everything works out neatly for everyone, but life seems a little better by the end of two hours' struggle, for the characters and for the audience.
Wedding Daze (2007)
Something of a train wreck...[but] comedy scavengers may find it worthwhile to pick through the remains for a few amusing gags.
A Guy Thing (2003)
Cycles through the same old cliches, like squares accidentally being dosed with drugs, overzealous pharmacists blaring out sensitive medical information (nothing like a good ol' venereal disease joke), and climactically scotched weddings.
Honeymoon in Vegas (1992)
The romantic comedy version of its setting: an overgrown theme park that momentarily amuses, wears down the body and spirit, but mentally stays behind.
Charlie and the Chocolate Factory (2005)
Never stops doling out demented treats....Dahl's morality play of bad parenting and bad-egg kids is evergreen....a genuinely amazing movie.
African Cats (2011)
The characters in the latest Disney film frequently attack each other, sometimes eat each other, and spend the whole time running around naked.
doesn’t have the reassuring clarity of a straight path from starting block to finish line, its fits and starts are pretty good.
Judy Moody and the Not Bummer Summer (2011)
It’d be nice to report that this film with a still-all-too-rare female protagonist is a great time at the movies, but alas, not so much.
The Ides of March (2011)
Plays out like a game of high-stakes poker, mostly in shades of quiet, intense deliberation.
Machine Gun Preacher (2011)
Butler delivers an unconvincing performance that's part and parcel of a phony film lacking in any narrative subtlety or finesse.
Poltergeist II: The Other Side (1986)
They don't come much more ridiculous...
Last House on the Left (1972)
A depraved exploitation film specifically designed to shock and repulse viewers...also a cultural artifact reflective of and reactive to the time it was made...
O Brother, Where Art Thou? (2000)
Even with its mock-pretentious parallelism to
O Brother, Where Art Thou?
refuses to take itself seriously, which is both its principal failing and its charm.
The Count of Monte Cristo (2002)
When it comes to swashbucklers, I'll take Wolpert's unmolested molestation of Dumas over
Pirates of the Caribbean
any day of the week.
The Tempest (2011)
Taymor tries a little too hard, neither breaking nor broken by the play, but ultimately losing the wrestling match.
Pretty much a non-starter...its squeaky-cleanliness will seem more at home in its inevitable cable afterlife on the Disney channel.
The Twilight Zone: Season 5 (1963)
The Twilight Zone
largely fell into tired repetitiveness in its final season, its crafty tales and spectrum of darkness to humor still stood apart from the television pack...
Undaunted, O'Connor straightens his spine of melodrama and focuses on the task of building up the film's emotional muscle.
X-Men: First Class (2011)
A superb, stylish piece of modern mythology.
Demolition Man (1993)
Doesn't quite go far enough, instead settling for cheap gags and cheap thrills, but it tickles fairly well for a couple of hours of crashes and fireballs.
By the time Rath and Bain have it out in a ramshackle, condemned motel with floors that keep giving away under them, we realize this final setting is a metaphor for the film itself.
The Specialist (1994)
Everyone knows that kitties love homicidal mercenary explosives experts. But for those who don't, there's
, another Sylvester Stallone action picture that's as dumb as a bag of hammers.
Dated and unintentionally laughable,
will always be best known for the catchphrase 'You're a disease and I'm the cure.' Ironically, any audience foolhardy enough to brave this ugly movie is liable to stagger out feeling mighty sick.
Fringe: The Complete Third Season (2011)
In its third year,
continues to 'go there' with a groundbreaking season that gives pretty much equal time to 'our universe'...and the 'parallel universe'...
The Final Destination (2009)
There’s absolutely no reason for
The Final Destination
to exist other than the only one Hollywood studios really care about: a cynical cash grab.
A Good Old Fashioned Orgy (2011)
Imagine if the characters on TV’s beloved sitcom
lost their lease and decided to mark the end with an orgy...gives new meaning to 'I’ll be there for you.'
The Debt (2011)
Boils down to the importance of facing up to what one can and can't live with, and taking action to set matters right...audiences will be able to recognize the secret agency in their own lives and the folly of living lies.
Win Win (2011)
McCarthy does a fine job of juggling the domestic mystery, situational comedy, and inevitable drama, and his terrific cast is well-suited to the deadpan ethical satire.
House, M.D.: Season Seven (2011)
Even in the show's seventh year, House continues to be an endlessly fascinating character, as brilliantly played by English actor Hugh Laurie...
A flashy but disposable exercise in style over substance...
Kapadia fosters a distinct 'you are there' feeling for the races by composing his visual storytelling entirely of vintage footage, mostly derived from the Formula One archives.
Jane Eyre (2011)
The slow-boiling romance convinces thanks to Wasikowska and Fassbender's unwavering seriousness and commitment to selling the story.
The Beaver (2011)
Gibson again stares deeply into the abyss. The question is whether—after his public disgrace—anyone will want to go there with him.
The Big Lebowski (1998)
It's the whole proud, embarrassing sociopolitical, cultural heap of American history—and the American Century in particular—in two fleet, funny hours.
Your Highness (2011)
Ultimately, the magic-and-monsters milieu isn’t enough when the jokes are half-baked.
Tim Burton's The Nightmare Before Christmas (1993)
A twisted revamp of Rankin-Bass by way of Edward Gorey.
Conan the Barbarian (2011)
Momoa, also a model, proves that he's more of a poser than an actor: he's a cocked eyebrow, a squinty tic, and an assortment of bulges in search of a performance.
One Day (2011)
's annoying artificiality comes with no compensatory effervescence, a requirement of a romantic picture.
Something Borrowed (2011)
Here we go again: big lies swell and then pop in a flick that’s one-hundred percent adherent to the shiny, colorful Warner Brothers rom-com style guide.
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