|Filed Under:||Film / Film Reviews|
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|Archived Since:||July 19, 2010|
The Big Sick is easily the best rom-com of 2017, so far, and one of the most touching and daring in years, too.
Transformers: The Last Knight isn't going to make any new fans. The movie is incomprehensible gibberish, whether you're a fan or not. It's simply a question of how much you care... if at all.
All Eyez on Me is a loving tribute to Tupac Shakur, but its sloppy execution and scatterbrained story mean it will definitely not become the next Straight Outta Compton.
Rough Night could be the comedy surprise of the summer, as it's definitely worth the time and oxygen it takes to laugh.
The Book Of Henry is an unmitigated stinker from Colin Trevorrow that should be avoided at all costs.
There's enough charm in the third Cars film to draw in young audience members and longtime fans, but beyond that, this is not the comeback we were hoping to see.
It Comes At Night will be too dark and grim for a lot a viewers, but those of you that are into such dark arts will revel in just how pulverizing and unnerving a ride it is.
The Mummy doesn't deliver the action to enthrall, the comedy to entertain, the horror to unsettle, or the adventure to captivate, meaning that it's a failure on all fronts.
Diana Prince's solo film easily stands out as the best DC film since The Dark Knight, and Wonder Woman is a sign of great things to come in the DC Extended Universe.
Even with its faults, Wakefield gives us an intriguing, modern day meditation on transcendentalist themes, with a riveting performance from Bryan Cranston at its very core.
Baywatch certainly has the requisite number of pretty people in swimsuits, and while that might have been enough for an hour long TV episode to get by, the feature film version finds itself lost at sea.
War Machine is too bloated to make a huge impact, even though it is still detailed and informative enough to be an intriguing, sometimes even intense, watch.
Pirates of the Caribbean: Dead Men Tell No Tales proves that it may finally be time for Captain Jack to hang up his sword and give up the pirate's life for good.
Everything, Everything has the style to draw in fans of the Young Adult genre, but it lacks the substance to truly resonate when compared to other (better) YA films.
Paint It Black is powerful, but not forceful, touching, but not hysterical, and a film that manages to effect and entrance in a subtle and profound manner.
The brief glimpses of fun and comedy are sparsely scattered rest stops on this trip of fear and loathing through a wasteland of a family vacation. If you can help it, don't stop here. This is Brat Country.
While Hounds Of Love is certainly an acquired taste, it's also a rare film that will ruminate and still terrify you days after you've seen it.
Aaron Taylor Johnson is supreme, and there's a hint of Doug Liman's well-known capabilities behind the camera, but The Wall just isn't substantial enough to stand up on its own.
The tonal shifts derail Snatched, and make me wonder if this premise ever had a chance to get off the ground, no matter who starred in it.
Lord Of The Rings meets Lock Stock And Two Smoking Barrels, Guy Ritchie never gives you a moment's rest in his cheeky journey through the middle ages.