As a piece about the good in people that isn’t a pure work of fiction, Brunello is a beautiful movie to visit.
As a piece about the good in people that isn’t a pure work of fiction, Brunello is a beautiful movie to visit.
With jaw-dropping visuals and a complex, fulfilling emotional narrative, Christopher Nolan earns his spot as an incredible director who continues to challenge himself.
Your picture doesn’t work when the viewer is wondering about the plot holes rather than being engaged in the actual plot.
When all the zany Raimi material resurfaces, the movie cranks the gore to 11. But it’s not earned.
Charging audiences to see what’s essentially a weepy sizzle reel mixed with occasional new stunts is cheap.
Perhaps it’s time for these heroes to hang up their capes.
The Invite has the elements of many predictable comedies, yet it decides to land itself in a more ominous direction.
Gail Daughtry and the Celebrity Sex Pass’s jokes are as overstretched as its title.
Toy Story isn’t as special as it used to be, since it should have ended two movies ago, but it doesn’t diminish the fact that it’s still the gold standard in animated storytelling.
Although deep, the movie feels almost like it could put you to sleep with all of its scenes of Robin napping off. See the movie for Robin Hood, stay for what he does to Margaret.
Kenji Tanigaki and his writing team aren’t just making another Taken, where the human-trafficking scum are put in their place. He’s making a call to action.
Disclosure Day is an impressive feat of old Hollywood storytelling that we don’t get often today.
Where most might find a compelling toxic romance between two victims of capitalism, Carolina Caroline’s stale cardboard-cutout characters made this heist not worth taking.
If you haven’t grown up with He-Man, it’s difficult for children to get invested in a movie that Thor beat the punch to.
The real horror in Backrooms isn’t the creepy, deformed faces or empty spaces; it’s the thought that we’re like Clark.
The film is formulaic, but it’s far more engaging than a forgettable film like Greyhound.
It’s been eight years since we’ve had a theatrical Star Wars film, and there’s a feeling in the force that the audience just doesn’t care anymore.
Let’s address the elephant in the room. The accents in this movie are atrocious.
Stretching Frank Castle’s story into an entire television series is overkill, whereas The Punisher: One Last Kill is the type of short and sweet Punisher story that delivers on everything the character is iconic for, and a little more.
If you’ve been playing them since you were a kid, this might be the best attempt at adapting a mindless fighting game since 1995, which is really not saying a lot. But at least it’s something.