I would never cheat on Sheryl Lee, but that’s just me, I guess. While the leads turn in good performances and the humor is mildly amusing, Strick’s writing and direction is undercooked and poorly handles explorations of misogyny.
5/10
I would never cheat on Sheryl Lee, but that’s just me, I guess. While the leads turn in good performances and the humor is mildly amusing, Strick’s writing and direction is undercooked and poorly handles explorations of misogyny.
5/10
They should’ve made ten more movies with this little shit. While not as mature and well-rounded as the first film, Eloise’s adventures continue to entertain and Creel steals the show with charm and class-A singing.
7/10
They should’ve made ten more movies with this little shit. While not as mature and well-rounded as the first film, Eloise’s adventures continue to entertain and Creel steals the show with charm and class-A singing.
7/10
Absolutely adorable. With a simple yet well-structured screenplay, Broughton’s whimsical score and Vassilieva’s kinetic energy, this family classic works with its TV budget incredibly well.
8/10
Absolutely adorable. With a simple yet well-structured screenplay, Broughton’s whimsical score and Vassilieva’s kinetic energy, this family classic works with its TV budget incredibly well.
8/10
Despite Newman’s excellent score and the actors turning in great performances, Hancock’s neo-noir is too dependent on a blatant Fincher pastiche, its writing and aesthetic too derivative to ever truly stand out.
6/10
Despite Newman’s excellent score and the actors turning in great performances, Hancock’s neo-noir is too dependent on a blatant Fincher pastiche, its writing and aesthetic too derivative to ever truly stand out.
6/10
Washington is practically unrecognizable as he delivers a tour de force performance in Fuqua’s horrifying, searing portrait of L.A. police, with Ayer’s screenplay brilliantly entwining character study with blockbuster thrills.
9/10
Washington is practically unrecognizable as he delivers a tour de force performance in Fuqua’s horrifying, searing portrait of L.A. police, with Ayer’s screenplay brilliantly entwining character study with blockbuster thrills.
9/10
Its found footage gimmick is woefully underdeveloped and the second half suffers from a lack of focus, but Ayer’s hyper-masculine copaganda is an unforgiving, well-paced thrill ride anchored by Gyllenhaal and Peña’s excellent performances.
8/10
Its found footage gimmick is woefully underdeveloped and the second half suffers from a lack of focus, but Ayer’s hyper-masculine copaganda is an unforgiving, well-paced thrill ride anchored by Gyllenhaal and Peña’s excellent performances.
8/10
Bentley’s rustic character study is tender and heartbreaking, given depth beyond its gorgeous cinematography through its bittersweet writing and impactful direction, as well as terrific performances from Edgerton and Macy.
9/10
Bentley’s rustic character study is tender and heartbreaking, given depth beyond its gorgeous cinematography through its bittersweet writing and impactful direction, as well as terrific performances from Edgerton and Macy.
9/10
Boundary pushing for its time, Thomsen’s landmark critique of both censorship and the sexual revolution is fun, feisty and anchored by playful New Wave ragebaiting, though its vibe wears thin near the end as its plot grows aimless.
7/10
Boundary pushing for its time, Thomsen’s landmark critique of both censorship and the sexual revolution is fun, feisty and anchored by playful New Wave ragebaiting, though its vibe wears thin near the end as its plot grows aimless.
7/10
While Cena and Elba have chemistry and the undercurrent of 90’s action story beats is charming, Naishuller is unable to bring gravitas to this mediocre buddy picture, with underwhelming action set pieces and an uninteresting story.
6/10
While Cena and Elba have chemistry and the undercurrent of 90’s action story beats is charming, Naishuller is unable to bring gravitas to this mediocre buddy picture, with underwhelming action set pieces and an uninteresting story.
6/10
The writing is very cheesy and repetitive, sometimes in an endearing way, but Bigelow’s still got it with this tense, gripping nuclear thriller with an impeccable score from Bertelmann and great performances from Basso and Elba.
8/10
The writing is very cheesy and repetitive, sometimes in an endearing way, but Bigelow’s still got it with this tense, gripping nuclear thriller with an impeccable score from Bertelmann and great performances from Basso and Elba.
8/10
Through Walker’s tight, edgy screenplay, masterful visuals, Fincher’s commanding and stylish direction and incredible performances from Freeman, Pitt and Spacey, this dread-inducing thriller is unforgettable from start to finish.
10/10
Through Walker’s tight, edgy screenplay, masterful visuals, Fincher’s commanding and stylish direction and incredible performances from Freeman, Pitt and Spacey, this dread-inducing thriller is unforgettable from start to finish.
10/10
The awkward anti-humor and surreal presentation don’t particularly work when the real story is already interesting enough, but there’s still hilarious moments, a beautiful score and great performances.
7/10
The awkward anti-humor and surreal presentation don’t particularly work when the real story is already interesting enough, but there’s still hilarious moments, a beautiful score and great performances.
7/10
Even with the less-than-impartial music, Gandbhir lets the footage and evidence do the talking, painting a fantastic picture of American injustice and intolerance that is stirring and heartbreaking.
10/10
Even with the less-than-impartial music, Gandbhir lets the footage and evidence do the talking, painting a fantastic picture of American injustice and intolerance that is stirring and heartbreaking.
10/10
While it wasn’t for me personally, it’s clear the filmmaker had a lot of passion and the actors had fun. I only wish it came through in the production value and writing. I liked whenever the mob boss called his henchmen “morons”.
3/10
While it wasn’t for me personally, it’s clear the filmmaker had a lot of passion and the actors had fun. I only wish it came through in the production value and writing. I liked whenever the mob boss called his henchmen “morons”.
3/10
Robinson’s artistic flourishes and Goldsmith’s great score aren’t enough to lift this run-of-the-mill thriller out of mediocrity, lacking in excitement or invigorating thrills and just barely holding your attention.
6/10
Robinson’s artistic flourishes and Goldsmith’s great score aren’t enough to lift this run-of-the-mill thriller out of mediocrity, lacking in excitement or invigorating thrills and just barely holding your attention.
6/10
Without any camp to fall back on, Carnoy’s mob comedy is practically dead on arrival, with atrocious comedic timing, stilted editing and bad direction, truly wasting a great premise and cast.
4/10
Without any camp to fall back on, Carnoy’s mob comedy is practically dead on arrival, with atrocious comedic timing, stilted editing and bad direction, truly wasting a great premise and cast.
4/10