The film invalidates everything that came before it, as if Twilight ever had anything to offer in the first place.
Whatever fun the film is having fails to have a trickle down effect to the audience.
Man on a Ledge has a triumphant quality: it's camera work.
Gone isn't legitimate because it never takes the time to make itself so.
Darkest Hour earns mercy points for its approach to intelligent life from elsewhere in the universe, an electrical, nearly invisible species feeding on our resources.
Short of the most cynical amongst us, it's hard not to be impressed by how glamorous and visually scaled the film is.
This is what happens when one studio finds their fiction necessitates two films as a closing piece on a billion dollar franchise.
Produced by Evan Goldberg and Seth Rogen, 50/50 is surprisingly capable of restraint and subtlety.
The Beaver doesn't succumb to the traditional Hollywood need to showcase the crazy in an institutionalized setting, although this is one case where it might has helped.
Death doesn’t matter to Colter Stevens (Jake Gyllenhaal), and why should it? He has eight minutes to live, die, live again, die, repeat ad nauseum. At least, that’s what he thinks. For the outside viewer taki...
Drive Angry is brazenly ludicrous, and why would you want it any other way?
When Fair Game slows down, takes a breather, and lets a wide-ranging, superb cast finally go to work, it's fantastic.