Posts Tagged ‘film criticism’
The James Brown story does everything most other musician biopics do, but none of them does it better than "Get On Up."
Despite episodic fits and starts of nostalgic glee, "The Shadow" is a temperamental trinket without the temerity to truly explore its hero's dark side.
This mockumentary spoof lampoons gangster-rap luminaries but more furiously lambastes those who embraced the genre to pursue a bank account, not a battle cry.
Accessible and arty (like Talking Heads itself), Jonathan Demme's concert film comes vibrantly alive as a story of artistic expression at its most incandescent.
With aggression more akin to Christopher Nolan's Batman films than Marvel's pop spectacle, this sequel tests Cap's mettle & metal in mighty, entertaining ways.
A cacophonous, purposeless mishmash of mayhem and murder whose stink nestles in the nostrils while asking far too much of Arnold Schwarzenegger.
In an alternate universe somewhere, the real Charlie Sheen is still making ridiculously entertaining action movies ... and earning the credit he deserves.
Formless and fuzzy, "Reality Bites" is a film whose legacy as an encapsulation of an ethos and an era has little to do with the film itself.
Few Coen Brothers films spike the vein of pure pleasure so easily — an irresistible romance, unpredictably riotous comedy & heartfelt hosanna to the common man.
"300" is one of many films this badly wants to be. Move the decimal point three places to the left, and that's about the percentage of good stuff here.
For all of the momentum and promise it shows in the early going, "The Marked Ones" more or less ends up marking time for this franchise's moronic mythology.
A dishonest character choice sets "Scarface" back, but it's still a bleakly funny, compulsively watchable template for the criminal deconstruction of the American Dream.
This look at the making of "Mary Poppins" is the charming confection you expect it might be, but here, spoonfuls of salt make the medicine go down.
With literary elegance, two perfect performances and a powerful erotic charge that’s explicit but not exploitative, this French epic is one of the year's best.