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unfortunately , like hard candy , promising young woman is a sheep in wolf's clothing , a mousetrap made out of wax , good intentions , and the right politics that pulls its punches in absurd , and absurdly consistent , ways .

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best exemplified by its fixation on culottes , the film never feels like more than a half-formed in-joke between close friends .

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while i appreciated certain aspects of this highly stylized revenge tale , i ultimately found that it didn't have anything particularly interesting to say .

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for all the film's sweeping , romantic ideas , the actual experience of watching the dig is a lot like sitting at a bus stop .

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three oscar-winning actors walk into a movie and , well , nothing much happens .

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[ t ] he film is essentially dramatically static , and little more than a mildly distracted stoner " what if ? "

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the result is a film that indicts the shabby treatment of prisoners at gitmo for sure , but the majority of what's here feels like a screed rather than captivating drama .

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a pretty sentiment , but it also feels hollow at the same time .

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if mundane had a namethere is zero percent originality

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[ d ] espite its merits , this wry look at several beleaguered senior citizens living in the world's largest retirement community - central florida's the villages - is often undercut by this telescoped approach .

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it is problematic that many of the film's most powerful segments are its most prurient , and even more , that they are juxtaposed with the poetic and the prosaic .

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the devil is in the details in the little things , a serial killer thriller devoid of any of the ( ahem ) fleshing out that makes these types of films worth watching .

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every time that tenet stops to speak , it only emphasizes a hollowness within : how enamored it is of its own cleverness .

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it's opaque and frustrating .

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it feels dated . startlingly so .

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too long , too silly , with weak action scenes and no real villain , ww84 lands with a thud and an apparent determination to redefine big-screen superhero mediocritythe film's chief drag is that the direction is so monumentally uninteresting .

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its modest suspense is largely offset by the fact that there's nothing substantial or especially original lurking beneath its eerie exterior .

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unlikable barrymore comedy has drug use , lots of swearing .

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most of the performances are pretty good and the film certainly has its heart in the right place , but no man's land just goes on too long without having anything fresh or insightful to say .

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hancock is playing the long game here , building up clues and doubts and mysteries , and in the end , we're mainly left wondering if any of them matter .

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the film's uneven tone , lack of dramatic urgency , uninteresting characters , and lackluster heist drag it down .

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there's a rote quality to the presentation that grates as the movie builds to an ending that ends up pulling its punches .

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it's a mess of a plot , not very entertaining , a lot of the action is rote and it feels like a movie made by committee .

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this film doubles down on the grimness in such a way that it takes itself too seriously .

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there are three things that are inevitable in life : death , taxes and liam neeson movies in january .

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rams may delight a senior matinee audience , but for everyone else it will lack all edge .

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to watch it is to suffer right along with its miserable characters , desperate for some ray of hope or sunshine to peek through the heavy portents of death .

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it's certainly great to see owen wilson and salma hayek work outside their norm , but bliss doesn't fully recover in the end .

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it does just enough to spark some interest in the future of this netflix movie franchise . just .

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the film has some great set-pieces , a game cast , and a compelling premise , but the parts are better than the sum .

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the get-a-load-of-this facetiousness of " we can be heroes " feels a bit rote , like the child-lite version of a " men in black " escapade crossed with wisps of nostalgia for " the goonies . "

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[ the action is ] as routine and uninspiring as the movie's quieter , more character-focused moments are surprising and appreciated .

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the thunderously corny land sees robin wright self-squandered in a generic survival drama built from only the most basic , anodyne parts .

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it's really just a movie that gives a platform to several self-described video game addicts , who ramble on about how they sometimes have a hard time comprehending what's reality and what is notthe movie is also very poorly researched .

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its well-intentioned escapism feels decidedly anachronistic in the current climate .

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shadow in the cloud is a boisterous adventure bound to delight audiences , as long as they don't think too hard .

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the worst studio ghibli production by such a gargantuan margin that the only fun lies in trying to come up with sufficiently florid insults to describe it .

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whatever else comes from the new chinese century , their take on popcorn movie making is seriously people's republic of rubbish .

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beside the usual deadpan and cartoonish saturday night live-style deliveries we've come to expect from wiig , the film often fails to make a convincing argument for its existence

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even the glorious gal gadot can't save this shameful superhero sequel .

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in spite of the available chemistry and charisma from hathaway and ejiofor , locked down proves to be a bewildering mess , in part because of choices made in how to tell a story that mixes two-hander drama with a heist .

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robin wright's directorial debut may be named land , but it certainly doesn't tread any new ground .

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the back and forth between revenge and redemption feels like proof of uncertainty more than a critical component of fennell's thesis , or worse , a lazily caustic tool for avoiding the consequences of her protagonist's actions altogether .

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in its attempt to provide clever answers to unknowable questions , soul just makes everything more confusing .

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color and shadow are drained out of nearly every scene leaving a bland , flat wasteland of boring dialogue and little emotion .

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the only thing that makes the film worth watching is a performance by robert pattinson , who has been the best thing about quite a few films in the last year .

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ben wheatley's latest genre miss gets caught in his familiar favoring of style over substance .

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the little things pays homage to everything we love from an old-fashioned detective procedural but aside from being socially tone-deaf , it also has the misfortune of doing it a couple of decades too late .

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dark comic nihilism like this has appealed to hipsters ever since gus van sant's to die for , but now it resembles regime change -- confirming a major fault of the indie film movement that traded populist sentiment for elitist cynicism .

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there is no emotional root to concern yourself with beyond the visual force of the images . [ full reviews in spanish ]

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the action scenes are some of the best of the year and theron gives her usual great performance . unfortunately , a nonsensical plot and long runtime take away from the fun .

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where notturno fails to grab is in the overarching scope of it , seemingly uninterested in crystallizing these disparate moments into a grander narrative .

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unless you enjoy long faces on legal eagles dealing with endless procedural delays , actor tahar rahim is probably the best reason to see this post-9/11 drama about a nice guy who knew a bad guy and got tossed into a guantanamo hell for almost 15 years .

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messy and frequently unfunny [ an ] awkward mishmash of repetitive jokes about being middle-aged women , with some sci-fi and musical theater elements that mostly fall flatit will just make people appreciate bridesmaids even more .

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the only people who might like this movie are those who can't get enough of [ liam ] neeson recycling his same 'defiant loner' persona in yet another stale action flick .

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you don't watch a movie about an erupting volcano for the human drama , and where skyfire excels is with its special effects .

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i suppose its hallucinatory approach might find favor with audiences under the influence of substances slightly stronger that oregano , but in the cold light of day , it is little more than a good-looking bore .

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tenet is a locked puzzle box with nothing inside .

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it's nothing that will have the horror fan howling because it's a lot more bark , than bite .

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rodriguez has fun coming up with some new-ish powers and there are knowing send-ups of superhero lore , but the takeaway is thin and forgettable .

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whether it's the meet-in-the-middle budget or netflix's algorithmic influence that suggests a mishmash of subscriber-friendly elements but never one clear directorial vision , the film suffers from an overwhelming aura of exhaustion .

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i felt it was a very mannered performance by michelle pfeiffer i didn't feel like her performance , which was supposed to anchor the film , was very accessible .

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you watch thinking of the original three years ago , and wishing this one were better .

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the stakes wind up being high enough , but the antagonists represent a huge comedown from the god of war and the german army , and despite the efforts of gadot and pine , the film can't overcome those hurdles .

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the biggest problem with the film is its lack of heart . this is a cold exercise lacking an avenue through which the viewer can become emotionally engaged .

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the main problems for this film start with the script and its lack of attention to detail .

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fact is , tenet should not be taken more seriously than a james bond movie . as an action film , it isn't nearly as skillful as a tom cruise mission impossible commodity .

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it's a less-funny adult swim cartoon that drags on far too long for the little emotional investment it cultivates .

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supernova is so obviously structured that it often seems to be imposing meaning on its characters .

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the history being uncovered in the dig comes in a distant second to the soap opera-esque arc of two late-coming characters . it's an odd way to tell a complete story , and one that denies its two main characters the emotional release that they deserved .

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two cluelessly funny characters who may not be worth an entire movie

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despite its star power , the little things fails to build any real momentum or chills that the genre is known for . the story falls flat on its face in one of the worst 3rd acts in recent memory .

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mourning takes all shapes , grief has no timeline , and pain is as personal , but " land " grapples so uneasily with such heady topics that the result is the total absence of new insights .

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the more everyone explains the plot , the more needlessly complicated it becomes . the " grandfather paradox " is mentioned , but back to the future and the terminator handled the same idea with less heavy lifting .

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somewhere along the line , jenkins lost the plot .

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overall , it's a shame that despite fine performances , " the devil all the time " remains a missed opportunity .

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ascher's approach here , as in room 237 , is to allow the participants to extoll their views without question; it'sinteresting to hear , but giving free rein to these people misses a trick , as far as i'm concerned . they're crying out to be challenged .

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written with glints of pulpy panache by greg rucka , the comic's originator , 'the old guard' sets up a high-potential premise and proceeds to do not very much with it .

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the disappointing sequel highlights not only the dire state of the live-action superhero genre in film , but the dire state of hollywood filmmaking as a whole .

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an all-too ordinary mob story that seems unfortunately content with coaxing by on familiarity .

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an uneven netflix showcase for producer-star naomi watts , one that never entirely gets off the ground .

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many times [ music ] is used to enhance the emotion or drama , but here it cuts them , causing confusion , and at times just feels forced .

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a full movie of what strongly resembles stoned dorm room philosophizing , in which the musings are very rarely particularly interesting .

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i feel like an ingrate as i complain about a mainstream disney release that doesn't talk down to its audience , a trojan horse of philosophizing packaged as shiny entertainment . but as much as i was intrigued by soul , i didn't actually enjoy the experience

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googling things to see along route 66 is more entertaining than " the marksman . "

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a grueling experience , but not for the reason intended .

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a hot , lavish , mess but not without its 'so bad it's good' charms .

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it's a lumpen mass of half-ideas and glaring fan service , topped by a horrendous montage ending that is clearly designed to inspire hope , courage , and kindness , but will more likely make everyone wonder if that was why they waited two and a half hours .

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to be sure , there are moments in this follow-up , but they are too few and far between as this update of " the monkey's paw " moves in fits and starts , never gathering a sense of momentum or wonder .

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palmer takes a somewhat simplistic view of both parenting and do-gooding .

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a horror movie that derives its biggest wallop of terror via a guy running through the woods , chasing people with an axe . that image is unpretentiously cognizant of this movie's genre roots , though in the earth never quite blooms into its own .

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it features garbage characters we're supposed to love because they're 'quirky . ' the entire affair is played as a whimsical symphony .

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with sitcom-level depth and labored jokes , this comedy squanders a charismatic dual performance by drew barrymore and a premise ripe for self-aware satire .

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a denzel movie shouldn't suck this much .

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what the hell was that ?

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it's a fun conversation , but it's all relatively silly .

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same fundamental idea , weaker execution .

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there is bloom for improvement .

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there are some expertly crafted action sequences in " the old guard , " except too often it feels like a wasted vehicle for charlize theron who can't save this lousy action flick from being a failed attempt at a new franchise .

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its just a pig pile of atrocities happening to people you barely know .

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