Nikola Grozdanovic

It’s a love story set in a contemporary world brimming with immigration issues, but it manages to be neither political drama, nor bubbly romance, somehow getting away with being labeled as a comedy.

With her underdeveloped, dismissive, screenplay and myopic direction, Rondòn is as delicate with her theme as Michael Bay is with his American flag shots or Tim Burton with his kitschy quirkiness. That hers is a serious context makes it that much more disappointing.

Perhaps through time this hallucinatory quasi-dream of a biopic will grow in stature, but as first impressions go, the film loves itself so much it renders itself beautiful, but utterly shallow.

Fumbling between broad comedic strokes you’d find in a Disney film and the kind of darkness that usually creeps out of heavy Danish dramas, “Two Lovers And A Bear” is tonally off-kilter on top of failing to engage on any deeper level.

All of that star-making and directorial grace Scherfig possesses is substituted for a bludgeoning attempt at provoking the British elite into taking a long hard look at themselves through a cracked mirror. She retains her confrontational sensibilities with none of the subtlety, and hammers a single message to mind-numbing effect.

Camp X-Ray is as transparent in its message as the title suggests, and the scan shows a malignant tumor in the very bones of the film’s structure. An on-the-nose approach smothers all subtext into submission and leaves nothing of interest alive.

Buried underneath the glop are interesting notions on reality, creation, and the nature of death. And thanks to its aesthetic, it's at least a very beautiful catastrophe.

It has all the makings for Green to find that sweet-spot between drama and comedy, and make something special. Instead, we're left with something exasperatingly bland and almost claustrophobically generic.

The acting is as inspired as the screenplay allows, which just isn't enough to add any kind of conviction to the events that transpire on screen.

Too many times, Trash asks the audience to trust its characters and their words unconditionally by throwing around terms like "change," "hope," and "rights" with no basis whatsoever.

Despite the valiant efforts from the two leads, the only thing of value that gets robbed in American Heist is our time.

The decisions made by the characters of I Am I feel so rushed that everyone’s emotional compass is either utterly broken, ignored, useless, or frustratingly disorienting.

It’s one of the director’s worst films, if not the worst.

With a bare minimum amount of suspense, and a screenplay that needs too much work for one that has so many long stretches of silence, this film leaves you with too many reasons not to care about it.

Uninspired films utilizing cinematic devices that felt old decades ago are a regrettable part of the cinematic viewing experience, and The Forger squarely falls into this category.

Thanks to deplorable direction by Paco Cabezas, and a childishly broad screenplay by Max Landis, Mr. Right ends up all wrong.

Your time would be better spent staring at a postcard for two hours. No, not even the presence of the usually magnetic Marion Cotillard will stave off the boredom of Garcia and Jacques Fieschi‘s screenplay.

Trying something different and playing around with convention is always commendable, but if The Reflektor Tapes proves anything, it's that the result can sometimes fail miserably.

Loo and Lau’s Dragons is too busy reveling in tilted angles, music video editing, mind-numbingly clichéd dialogue, wooden acting and a one-dimensional story about brotherhood.

This is advertisement masquerading as a story, pretending to be a movie, but at the very least, it’s for a good cause.

It fails to convince, and succeeds only in frustrating.

If it were funnier, perhaps the trite action and insipid characters could be excused, but it isn’t nearly funny enough for that.

Tired, lazy, incongruous, shocking and hilarious in all the wrong places, Rage is destined for the graveyard television slot, squeezed between infomercials for mops.