Diego Semerene

If there’s anything worth mulling over about The Drowning, it's the way it proffers the East Coast couple as an inevitably miserable institution without really meaning to.

The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist.

Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.

L!fe Happens wants us to believe its message is one of female independence and empowerment.

Tammy Caplan and Joe Tyler Gold's film gives off the alienating feel of an inside joke that you miss in the off chance you're not part of the professional magic business.

One of the film's main problems is the fact that Shlain is so invested in connecting her father's scientific findings... with an astonishingly linear history of the world that she fails to see the more private connections that flicker in and out of her verbose voiceover.

You know a film isn't going to be considered high art when the guy to your left at the press screening is a reporter from Extra and the guy to your right lets out a loud "That's awesome, man" after each scene.

It’s difficult to find a reason for the film's existence beyond a spoiled platform for James Franco's ersatz boldness.

Writer-director Tim Kirkman tries to peg depth of character on the character of Dean instead of having him earn it.

The film is a hybrid of a Lifetime movie focused on a "strong woman," a run-of-the-mill murder mystery, and a yogurt commercial from hell.

Marry Me plays out as the logical culmination of a multi-hyphenate icon’s indiscriminate commercial voracity.

This is didactic self-help drivel of the worst kind, as filmmaker Rupam Sarmah creates a return-to-the-origin narrative contaminated by what Kathryn Bond Stockton would surely call "kid Orientalism."

The film is essentially an exercise in forcing a female genius back into her proper place of dependence on both the father figure and the Prince Charming.

For a film so bent on naturalizing the presumably hilarious incongruity of "the sexes," it sure features lots and lots of that site of horror: a naked male body. And for comedic purposes, of course.

The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.

A Warrior's Heart is so inept at developing itself as a film that it hands in all of its devices to the soundtrack itself and becomes a music video.

I'm not sure what part of Snowmen doesn't scream completely inappropriate, sentimental Manichean drivel.