Luke Y. Thompson

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Dallas Observer, New Times (L.A.), The A.V. Club, Village Voice
For 520 reviews, this critic has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 8 points lower than other critics. (0-100 point scale)

Luke Y. Thompson's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Dragon Inn (1967)
Lowest review score: 0 Slackers
Score distribution:
  1. Positive: 204 out of 520
  2. Mixed: 228 out of 520
  3. Negative: 88 out of 520
520 movie reviews
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per page
    • tbd Metascore
    • 75 Luke Y. Thompson
    How to Rob a Bank
    Where visuals of certain events are unavailable, like Scurlock writing in his journal at night, fully colored and animated storyboards fill in the gaps. It’s an odd semi-glorification, even as How To Rob A Bank throws in a few token mentions of robbery survivors with PTSD at the end, and offers a sense that Scurlock fell into the Butch Cassidy trap of being so hooked on robberies he never knew when to quit.
    • 62 Metascore
    • 91 Luke Y. Thompson
    Abigail
    Once intended as a remake of Dracula’s Daughter, Abigail evolved into its own thing, and fans of original horror ought to applaud. The former, honestly, isn’t all that great; the latter, figuratively and literally, dances rings around it.
    • 27 Metascore
    • 67 Luke Y. Thompson
    Winnie-the-Pooh: Blood and Honey 2
    This is cinema at its most punk rock—a raucous, unpolished, cheap, sacred-cow shredding middle finger to the mainstream with just enough raw talent inside to keep it from being dismissable.
    • 45 Metascore
    • 50 Luke Y. Thompson
    Sleeping Dogs
    Crowe is quite capable of being compelling even when doing banal stuff—the highlight here is a variation on the “falling off the wagon” trope, as he captures the sheer delight of a guy who has literally forgotten how much he loves whiskey. The end point, like the movie’s, feels inevitable, but the journey there contains small joys.
    • 82 Metascore
    • 58 Luke Y. Thompson
    Hundreds of Beavers
    Hundreds Of Beavers is one of the most distinctive movies you’ll see all year, and one made for midnight viewings if ever anything was.
    • 44 Metascore
    • 42 Luke Y. Thompson
    Ricky Stanicky
    In the wrestling ring, Cena used to wear a shirt which read “Rise Above Hate,” and indeed, he does so here. It would be better if he found a project where he didn’t have to.
    • 57 Metascore
    • 58 Luke Y. Thompson
    Land of Bad
    If you can get through a rough first act, you’ll see both absurd military superheroics and the greatest grocery run ever.
    • 72 Metascore
    • 91 Luke Y. Thompson
    Orion and the Dark
    Though Orion And The Dark appears to go through the motions of a family flick, it throws some serious curves en route to a loving yet emotionally devastating resolution.
    • 63 Metascore
    • 83 Luke Y. Thompson
    Chicken Run: Dawn of the Nugget
    It’s rare to see family animated films as purely focused on fun as this one.
    • 91 Metascore
    • 91 Luke Y. Thompson
    The Boy and the Heron
    If The Boy And The Heron is indeed Miyazaki’s final film, it can serve as both a victory lap and a plea for a successor to arrive and take up the mantle of trying to make the world a better place through art.
    • 33 Metascore
    • 58 Luke Y. Thompson
    Five Nights at Freddy's
    Yes, there are kills, but they’re often as comical as they are scary, and deliberately so. It’s a fun gateway horror movie for kids—and the easily scared who want to test their limits lightly.
    • 60 Metascore
    • 75 Luke Y. Thompson
    Saw X
    Fans who tune in mainly for the insane timeline twists won’t get them, but otherwise, this is the most satisfying Saw installment since the first three. Also, be sure to stick around for a mid-credits scene.
    • 47 Metascore
    • 33 Luke Y. Thompson
    The Nun II
    At least the jump scares are effective, especially in IMAX theaters where the headrests rumble every time Valak makes a sudden move. That, and a couple of decent makeup tricks are pretty much all The Nun II has. The character deserves better, and so do you really.
    • 43 Metascore
    • 67 Luke Y. Thompson
    Retribution
    Unlike Forrest Gump’s box of chocolates, what you’re going to get from this box of travel sweets is usually something you can expect. But that doesn’t mean it can’t be effectively tasty in the moment.
    • 54 Metascore
    • 83 Luke Y. Thompson
    Sympathy for the Devil
    Cage may hate that people quote his over-the-top moments out of context, but since this entire movie is one, you can’t really take any of it the wrong way.
    • 47 Metascore
    • 42 Luke Y. Thompson
    Haunted Mansion
    The movie at times feels like an eternal cycle of the nine-minute ride, which loses its luster after 123 of those minutes. It offers you this chilling challenge—find a way out! Better yet, refrain from being the mortal foolish enough to enter in the first place.
    • 31 Metascore
    • 33 Luke Y. Thompson
    God Is a Bullet
    Cut God Is A Bullet down to a tight 90 minutes, and it might at least consistently deliver the cheap thrills and nihilistic kick it only occasionally achieves.
    • tbd Metascore
    • 67 Luke Y. Thompson
    Hollywood Dreams & Nightmares: The Robert Englund Story
    It certainly captures a side of the man, and maybe that’s all anyone would ask of it. But it’s hard to shake the feeling there’s an even better movie waiting to be made from all this material.
    • 37 Metascore
    • 50 Luke Y. Thompson
    The Machine
    Hamill, however, is the MVP, continuing to deliver some of his best work as an older man. When he leaves the action for a spell, the energy leaves the movie.
    • 53 Metascore
    • 75 Luke Y. Thompson
    Hypnotic
    Hypnotic isn’t just refreshingly straightforward for Rodriguez, but for Ben Affleck too.
    • 34 Metascore
    • 33 Luke Y. Thompson
    Ghosted
    There’s a funny notion in Chris Evans effectively playing a damsel in distress, but like everything else in Ghosted, the filmmakers have no idea how to play it.
    • 45 Metascore
    • 50 Luke Y. Thompson
    The Pope's Exorcist
    It’s impossible to take any of this remotely seriously, or find it particularly frightening. But it is its own sort of fun, at least for a while.
    • 44 Metascore
    • 50 Luke Y. Thompson
    Murder Mystery 2
    It’s a set-up too contrived to feel real, yet not quite over-the-top enough to be hilarious.
    • 22 Metascore
    • 25 Luke Y. Thompson
    Children of the Corn
    There’s no reason a movie with this premise couldn’t be better. Just not in these folks’ hands.
    • 16 Metascore
    • 50 Luke Y. Thompson
    Winnie-the-Pooh: Blood and Honey
    To say that Winnie-The-Pooh: Blood And Honey delivers everything a slasher movie should is higher praise than it used to be. Marketing alone would have guaranteed this movie a certain percentage of curious eyeballs, but Frake-Waterfield made sure that what genre fans see is everything they expected.
    • 52 Metascore
    • 83 Luke Y. Thompson
    Magic Mike's Last Dance
    Since more moviegoers are likely coming to a Magic Mike movie for the moves than the plot, let it be stated the moves are outstanding, even if the movers remain mostly blank slates.
    • 50 Metascore
    • 42 Luke Y. Thompson
    You People
    For the first half-hour, Netflix has a high-concept hit on its hands. Pause it there, and imagine the rest—you won’t do any worse than Barris and Hill’s script at conceiving an ending.
    • 65 Metascore
    • 67 Luke Y. Thompson
    Alice, Darling
    Nighy feels like she’s finding her way in a new format. She’s got the hard part down, pulling off effective emotional beats even when the story seems to be operating on screenwriting 101 paradigms. All that remains is to find a script that’s up to the rest of it.
    • 52 Metascore
    • 50 Luke Y. Thompson
    The Drop
    The Drop isn’t really about dropping a baby. But it’s not about much else, either.
    • 41 Metascore
    • 58 Luke Y. Thompson
    House Party
    To its credit, and this isn’t damning with faint praise, the new House Party is frequently very funny. (The R-rated language and creative insults are a great asset, even if they might restrict the potential teen audience.) What it has in humor, though, it lacks in pace.
    • 71 Metascore
    • 91 Luke Y. Thompson
    Wildcat
    Wildcat may have a tiny fraction of Avatar’s budget, and the bad guys—loggers, mostly—remain off-camera. But at heart, it has the same appeal. Get back to nature, put others first, be as good to your family as you can, but let them go their own way.
    • 79 Metascore
    • 83 Luke Y. Thompson
    Guillermo Del Toro’s Pinocchio
    Carlo Collodi’s serialized story for kids may have inspired it, but del Toro isn’t going for fealty. He very much has a take, and if he creeps you out with it, so much the better.
    • tbd Metascore
    • 58 Luke Y. Thompson
    The Last Manhunt
    Momoa’s clearly abetting a passion project here, but unfortunately, Camargo hasn’t managed to capture a similar passion from his main cast.
    • 43 Metascore
    • 58 Luke Y. Thompson
    Poker Face
    When the entire theme is about misdirection, then yes, assessing how enjoyable the swerves and bluffs are, both narratively and conceptually, feels entirely appropriate. And they all too often feel like letdowns.
    • 40 Metascore
    • 50 Luke Y. Thompson
    Falling for Christmas
    It’s silly, sitcom-y, and impossible to call “good,” but Falling For Christmas is the kind of bad that feels almost appealing.
    • 58 Metascore
    • 58 Luke Y. Thompson
    Nocebo
    The “mystery” elements simply aren’t mysterious. Yet without them, the sparse moments of gore and icky bugs aren’t quite enough to pad things out.
    • 38 Metascore
    • 33 Luke Y. Thompson
    The Curse of Bridge Hollow
    Watching it feels like attending a Halloween party and never striking up a conversation with anyone; you can only look at the decorations for so long before getting bored.
    • 72 Metascore
    • 83 Luke Y. Thompson
    Piggy
    As much as Piggy certainly has points to make about passive-aggressive status quo maintenance versus open violence, it unabashedly delivers enough terror, tension, and gore before it’s done.
    • 54 Metascore
    • 58 Luke Y. Thompson
    Luckiest Girl Alive
    The unquestionably well-intentioned and obviously deeply personal Luckiest Girl Alive would benefit from more mature guidance.
    • 51 Metascore
    • 75 Luke Y. Thompson
    Lyle, Lyle, Crocodile
    The result is a movie likely to appeal as much to anyone who enjoys pop-scored animal hijinks on TikTok as to anyone who actually remembers the books.
    • 59 Metascore
    • 67 Luke Y. Thompson
    Pretty Problems
    The humor in Pretty Problems isn’t often laugh-out-loud funny, but the observational satire is astute: it highlights how charity may be a performative act for donors, but that makes the need no less urgent for recipients, while acknowledging how far wealth distances some people from reality.
    • 68 Metascore
    • 75 Luke Y. Thompson
    Smile
    It’s obvious that Finn draws heavily from his own favorites, but Smile suggests that their skill and effectiveness have successfully been passed along to him.
    • 69 Metascore
    • 83 Luke Y. Thompson
    Mona Lisa and the Blood Moon
    It’s less a story of the supernatural than one about a party on the wrong side of town, with hints of danger, interesting strangers to meet, and an overall cool vibe that even lingers the morning after.
    • tbd Metascore
    • 75 Luke Y. Thompson
    Blank
    When the all-important moment of catharsis that every good scary movie requires comes around, it’s palpable. But writers, and other creative types, just might feel it a little bit extra.
    • tbd Metascore
    • 42 Luke Y. Thompson
    Dig
    The goal of a movie like Dig ought to be simple: keep ratcheting up the tension to the point that when our main character(s) finally turn the tables, it’s hugely cathartic. Unfortunately, the “ratcheting” part is where Dig fails to hit paydirt.
    • tbd Metascore
    • 67 Luke Y. Thompson
    About Fate
    Despite the off-putting blandness of its poster, soundtrack, and setup, About Fate proves surprisingly charming. Old pros (especially for their relatively young ages) Mann and Roberts manage to sell some significant character flaws.
    • 38 Metascore
    • 42 Luke Y. Thompson
    Pinocchio
    Far be it from us to actively reveal what scuttles Zemeckis’ film, but let’s just say that it seems like the people who made its biggest creative choices have more wood for brains than the character they brought to life.
    • 45 Metascore
    • 42 Luke Y. Thompson
    Gigi & Nate
    For a solid portion of its running time, Gigi & Nate at least delivers what it promises: a young man and his monkey—to be more specific, a young, newly quadriplegic man and his service monkey.
    • 25 Metascore
    • 50 Luke Y. Thompson
    Me Time
    It’s not just that more timely humor would do better; it’s that most comedy fans would probably rather be watching MacGruber again. Instead of sitting down for Me Time, do that, and hope that Hart and Wahlberg figure out a proper story next time that gives their chemistry somewhere to go.
    • 39 Metascore
    • 25 Luke Y. Thompson
    Get Away If You Can
    One hopes the entire process made for great couples therapy, because watching it certainly doesn’t.
    • 40 Metascore
    • 42 Luke Y. Thompson
    Delia's Gone
    James does a decent job with what he’s been given, but it’s never clear exactly what the movie hopes to do with his character. Is this just another crime and punishment retread? Or is it meant to serve as a metaphor for dealing with grief while disabled? It’s too broad to work as the latter, and too unhurried for the former.
    • 30 Metascore
    • 16 Luke Y. Thompson
    Purple Hearts
    Purple Hearts would be a lot more interesting if it interrogated the specific moments of weakness that attract Cassie to Luke, but that’s far too complex an idea to explore in this kiddie pool of sentimentality.
    • 48 Metascore
    • 42 Luke Y. Thompson
    Paradise Highway
    As intriguing as the combination of Binoche and Grillo might sound, it would be much more impactful if they shared the screen for more than a handful of scenes. As such, the movie begins with a bang, but it ends with a whimper.
    • 78 Metascore
    • 91 Luke Y. Thompson
    A Love Song
    On the surface, there’s little more simple than a story of two people trying to make a connection. On an emotional level, however, few things are more complicated. Like life, A Love Song offers no easy conclusions—just simple realizations. In expert hands, that’s enough.
    • 52 Metascore
    • 75 Luke Y. Thompson
    Alone Together
    While we may soon tire of movies using the pandemic as a narrative catalyst (if we haven’t already), Katie Holmes’ Alone Together feels vitally of-the-moment at a time when so many films are ignoring the poignancy of that moment altogether.
    • 58 Metascore
    • 58 Luke Y. Thompson
    The Deer King
    Though the recipe of a feudal setting with fantasy and myth-making elements ought to be strong, the mixture is off, like a handsomely plated sandwich where the ingredients are more bland than anticipated.
    • 67 Metascore
    • 67 Luke Y. Thompson
    This Is GWAR
    For all the documentary reveals about the band, it leaves you asking further questions, and wanting much more—an apt metaphor for a band that created an impressive legacy, and yet whose members rarely came to a consensus.
    • 49 Metascore
    • 83 Luke Y. Thompson
    The Gray Man
    Gosling’s one of those actors for whom a recurring action hero role somehow feels long overdue, and the Russos have taken advantage of more than just his good looks and smoldering gazes.
    • 34 Metascore
    • 25 Luke Y. Thompson
    The Man from Toronto
    For a character-driven “mistaken identity” comedy that lives or dies based on the humorous interactions between two A-list leads, its lousy script barely constitutes life support.
    • 70 Metascore
    • 83 Luke Y. Thompson
    Beavis and Butt-Head Do the Universe
    Beavis And Butt-head Do The Universe is pretty much what you expect—and it’s, uhhhhh, pretty cool.
    • 49 Metascore
    • 58 Luke Y. Thompson
    The Good Neighbor
    The only benefit the soul is likely to get from watching this is the comforting knowledge that you, the viewer, are not any of the people onscreen. Which doesn’t mean you can’t have fun watching them be bad, of course. But it’s a detached kind of fun.
    • 29 Metascore
    • 25 Luke Y. Thompson
    The Lost Girls
    After watching, you may well wish that Peter Pan could be re-copyrighted to be kept out of the hands of anyone inclined to make this much of a mess of it.
    • tbd Metascore
    • 25 Luke Y. Thompson
    Unhuman
    If you’re a fan of Marcus Dunstan and Patrick Melton, scribes of the later Saw sequels and the Feast trilogy, you know what to expect from them: gore, vomit, red filters, and maybe a half-clever plot twist. If you’re not a fan, it’s best to stay as far away as possible from Unhuman, a cheap-looking, awkwardly calibrated horror-comedy which only the team’s truest devotees could love.
    • 72 Metascore
    • 67 Luke Y. Thompson
    Watcher
    Without spoiling, this is one movie where it’d be extremely interesting to know what happens five minutes after the final scene. But while the subsequent events may be up for vigorous debate, the film’s message is crystal clear: Screw you if you ever doubted a woman afraid for her safety.
    • 79 Metascore
    • 75 Luke Y. Thompson
    The Innocents
    Childhood is hard, and childhood grudges run harder. The Innocents pulls no punches in turning that fact into horror.
    • 40 Metascore
    • 42 Luke Y. Thompson
    The Twin
    Generally speaking, the best kinds of story surprises illuminate the material; the worst simply laugh at you for falling for red herrings. Much of what happens in The Twin bounces back and forth between those ends of the spectrum.
    • 82 Metascore
    • 91 Luke Y. Thompson
    Vortex
    Vortex looks unsparingly at characters at the end of life, and finds their experiences as scary as any traditional horror tale.
    • 41 Metascore
    • 50 Luke Y. Thompson
    Memory
    It’d be nice to think that the forgettable nature of Memory was a deliberate irony. Then we could grant it bonus points for cleverness, rather than an average grade for just being bland.
    • 64 Metascore
    • 67 Luke Y. Thompson
    The Bad Guys
    Like the Despicable Me series, The Bad Guys may find ever-diminishing returns once the villain protagonists no longer qualify as despicable or bad. For now, at least, that mixed morality is not just part of the fun, but the primary selling point.
    • 43 Metascore
    • 42 Luke Y. Thompson
    Chariot
    From the cast to its odd, intriguing locations, Sigal was successful in assembling many of the right ingredients. Unfortunately, they lack a chef who knows how to properly combine them, whether that’s to create a meaningful sense of cohesion or to truly create the kind of beautiful chaos that makes Lynch such a mesmerizing source of inspiration.
    • 68 Metascore
    • 83 Luke Y. Thompson
    The Unbearable Weight of Massive Talent
    If the movie were just meme-able moments, it might run out of steam, even with Cage delivering them practically nonstop. Thankfully, there’s an actual plot, which allows everyone else (and the film as a whole) to spoof less Cage-specific tropes.
    • 62 Metascore
    • 67 Luke Y. Thompson
    All the Old Knives
    All The Old Knives is compelling moment by moment, but afterward viewers may have some lingering questions about what characters hoped to accomplish, or why they were involved at all.
    • 56 Metascore
    • 83 Luke Y. Thompson
    a-ha: the Movie
    It’s a compelling tale of three perfectionists who consider music to be their bond, but don’t work together very well unless they have to.
    • 34 Metascore
    • 50 Luke Y. Thompson
    The Bubble
    Even if the characters on screen didn’t become better artists during the pandemic, then Apatow at least should have. With The Bubble, he seems to have mistaken jokes about moviemaking for moviemaking that shouldn’t be taken seriously.
    • 82 Metascore
    • 75 Luke Y. Thompson
    You Won't Be Alone
    Stolevski ably balances art-house and horror tones to a degree that fans of both will appreciate, but like the film’s pointedly empathetic point of view, his emphasis on each helps fans of one style understand and appreciate the other.
    • 51 Metascore
    • 60 Luke Y. Thompson
    Naples '44
    It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.
    • 59 Metascore
    • 70 Luke Y. Thompson
    Killing Ground
    What the film doesn’t do, much to its credit, is make the killers into charismatically “cool” villains, à la Wolf Creek‘s Mick Taylor.
    • tbd Metascore
    • 30 Luke Y. Thompson
    96 Souls
    That some of the super-visions manage to disturb regardless is arguably a testament to writer-director Stanley Jacobs, but he’d have been better off keeping this as his demo reel and showing whatever he does next to the public at large.
    • 77 Metascore
    • 80 Luke Y. Thompson
    Legion of Brothers
    It’s clear in their eyes that they’ve seen some shit—and this doc not only gives us a glimpse of it too, but adds valuable context in a way not many others do.
    • 79 Metascore
    • 80 Luke Y. Thompson
    Bang! The Bert Berns Story
    Blending stock footage, vintage audio, re-creation, and many testimonials from heavy hitters from Ben E. King to Van Morrison, Berns' son Brett keeps things visually lively, and not as morose as may be implied.
    • 62 Metascore
    • 70 Luke Y. Thompson
    The Void
    The twisty story and imaginative monsters are enough to overcome the relatively humdrum leads.
    • 40 Metascore
    • 30 Luke Y. Thompson
    Mine
    The co-director/co-writer team of Fabio Guaglione and Fabio Resinaro are none too subtle, and their reliance on hallucination sequences suggests a (misguided) lack of faith in Hammer to pull this off by himself.
    • 64 Metascore
    • 70 Luke Y. Thompson
    Mean Dreams
    For better or for worse, Paxton's performance will be the focus of viewers’ attention, so it is decidedly to the good that he doesn't just deliver. He gives a sort of master class on why we've loved him: Paxton was amazing in the role of regular guys, and equally compelling as the subversion of same.
    • 37 Metascore
    • 70 Luke Y. Thompson
    The Bye Bye Man
    If you miss the slasher icons of old and have little patience for the reboot attempts they get periodically, it's nice to see at least a worthy attempt to add to that pantheon.
    • 67 Metascore
    • 70 Luke Y. Thompson
    Ma
    It's audacious enough to warrant attention.
    • tbd Metascore
    • 30 Luke Y. Thompson
    Behind 'The Cove'
    The movie is not without some appeal, mainly due to the fact that the whaling town of Taiji is beautiful to look at, and principals from the original The Cove, Louie Psihoyos and Ric O'Barry, gamely give interviews to explain that of course they want to hear both sides.
    • 54 Metascore
    • 60 Luke Y. Thompson
    You've Been Trumped Too
    If you don't know who to vote for by now, whatever you do, don't see this movie. It's only going to tell you bad things. We're having fun here, right?
    • 75 Metascore
    • 80 Luke Y. Thompson
    Silicon Cowboys
    Director Jason Cohen (the Oscar-nominated short Facing Fear) wants his documentary history of Compaq computers to be fun — and indeed, compared to the overly earnest clips of Halt and Catch Fire inserted for contrast, the real slow-talking Texans in the tale are a hoot.
    • 57 Metascore
    • 40 Luke Y. Thompson
    Klown Forever
    So long as they're only stupidly endangering themselves along the way, it's easy to watch this with a sort of libertarian detachment. It's also annoyingly predictable this time around, though the leads at first maintain their strong chemistry and essential likability.
    • 37 Metascore
    • 50 Luke Y. Thompson
    Kickboxer: Vengeance
    This reboot smartly doesn't try to escalate the material to bigger and better status, keeping things small and scrappy and relying on the fighters to be the best special effects.
    • 50 Metascore
    • 50 Luke Y. Thompson
    Edge of Winter
    Director Rob Connolly may well think he's upping the stakes by plunging his film into borderline horror territory, but in fact he's minimizing them.
    • 68 Metascore
    • 60 Luke Y. Thompson
    Citizen Soldier
    Paradoxically, this technique both keeps you from getting to know the soldiers better and puts you completely in their boots, understanding directly that (as one character puts it) war is boredom punctuated by moments of sheer terror.
    • 55 Metascore
    • 70 Luke Y. Thompson
    The Mind's Eye
    The Mind's Eye ought to hit the sweet spot for fans of early David Cronenberg, the more violent X-Men comics, and the kinds of indie horror movies Larry Fessenden always cameos in, as he does again here.
    • 62 Metascore
    • 50 Luke Y. Thompson
    Shelley
    Director Ali Abbasi excels at atmosphere, understanding that any beautiful landscape can be made terrifying with the right sound design and that a cut to a silent interior can be as jarring as any jump scare. His script, unfortunately, is not as interesting.
    • 38 Metascore
    • 30 Luke Y. Thompson
    Cell
    King's decision to co-write the script and turn it into a CliffsNotes version of The Stand only makes things worse.
    • 60 Metascore
    • 70 Luke Y. Thompson
    Len and Company
    You think you can guess what happens next, but the beauty of Tim Godsall's film, adapted from a play by Carly Mensch, is that it eschews the obvious arcs and come-to-Jesus moments of your typical Bad Dad pics.
    • 100 Metascore
    • 100 Luke Y. Thompson
    Dragon Inn (1967)
    The slow build of the action is deceptive, as at first the martial arts are all in the editing.
    • 39 Metascore
    • 40 Luke Y. Thompson
    Bringing Down the House
    The movie's not without moments of genuine humor--no comedy starring Steve Martin could be--but sad to say, his Oscar-hosting gig two years ago was funnier.
    • 40 Metascore
    • 30 Luke Y. Thompson
    Wicker Park
    If Alfred Hitchcock were retarded, lobotomized, and freshly dug up, he might possibly c--- out a movie like this one.
    • 45 Metascore
    • 60 Luke Y. Thompson
    The Singing Detective
    Try to forget about Michael Gambon in Potter's original BBC miniseries; Keith Gordon's film is its own thing, full of Brechtian artifice and oddball humor -- Mel Gibson's old man act in particular.
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