Jordan Ruimy

[Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.

The missteps seem to never end as the director and actors struggle to bring some kind of coherence to this unwieldy film. Although it tries to be political and relevant to our times, Kings becomes such a confusing blur that one wonders where precisely in the process it all went wrong.

The lack of narrative propulsion or powerful subtext of any kind results in little dramatic substance beyond its cult-like ambitions.

[Chan] brings energy to a film that desperately needs any kind of life, but there is only so much Chan can do.

Although Miller invests heart and soul into the performance, maybe even career-best work from the actress, and the rest of the cast, especially Hendricks, are excellent, Ingelsby’s screenplay foolishly decides to lay its interests on Deb’s terrible taste in men rather than her daughter’s disappearance.

A film that features a few fantastic comedic highlights unfortunately weighed down by a misfired performance from its lead actress. The result is an occasionally funny, inventive, but inconsequential, feature.

Feeling stilted and steeped in uninspired biopic tropes, Kelly’s film never comes close to an inventiveness worthy of JT’s imaginative, outrageous story.

For a film that has such an intriguing premise at its core, The Yellow Birds seems to drag due to Moor’s abrupt tempo changes and flat visual style.

Doillon tries to dramatize Rodin, but makes it seem as if there wasn’t much drama to his story.

The spy genre is a tricky business, because the tempo and flow of the film must adapt to numerous different scenarios and narrative changes. In Lewin’s movie, however, the ever-changing intricacies of Dawidoff’s book are rendered flat, unappealing and messy.

A manipulative mess from start to finish.

The plot structure is convoluted and all-too familiar, leaving almost no trace of originality or curiosity at the table.

It’s a film that you would, of course, expect from the director of such an entity as The Greasy Strangler, but, say what you will about that film, at least it wasn’t boring.