It’s almost astonishing how unfunny this movie is, given the talents of primary cast members Ed Helms, Taraji P. Henson, Betty Gilpin and David Alan Grier. They’re all troupers and they dive headfirst into the material, but the dialogue they’re delivering and the situations they’re mired in make it impossible to wring even a smile, let alone a legitimate laugh, from the material.
To the credit of Orley’s screenplay and Davidson’s smiling-devil performance as the charming but toxic Zeke, we can understand how a vulnerable teen could mistake a loser for a legend — and we’re rooting like hell for the kid to realize that mistake before it’s too late.
Directors LeBrecht and Newnham do a nimble job of threading the stories of a number of campers into a compelling narrative, deftly moving back and forth from the newsreel-style footage from the 1970s and the interviews and life updates on the campers many decades later.
Frantically overcooked, bursting with headache-inducing, rapid-cut action sequences and only half as clever as it fancies itself, Bloodshot is an ambitious and intermittently entertaining minor-league superhero film.
Nearly every step of the way, Stargirl finds just the right notes to find the right side of the line between precious and lovely, between arbitrary and plausible, between serendipitous and condescendingly magical.
The gifted director Kelly Reichardt (“Old Joy,” “Wendy and Lucy,” “Meeks Cutoff”) adds to her impressive canon of minimalist, Oregon-set treasures with an immersive and deceptively simple and uniquely original frontier morality play set in the unforgiving Pacific Northwest of the 1820s.
Michael Winterbottom (“The Claim,” “24 Hour Party People,” “Code 46”) is a wonderfully gifted and versatile director, so it comes as no small surprise Greed is such a thudding. one-note takedown of a fictional avaricious fashion mogul.
The story fluctuates between the uninspired and the just plain weird — and then gets even weirder. It’s too basic and familiar to keep parents and older children consistently entertained, and too trippy and existential for the little ones.
This is a film brimming with essential truth about the events at hand, and it delivers an impactful but also entertainingly resonant message. It’s also a crackling good, emotionally satisfying, old-fashioned thriller, with readily identifiable heroes and hiss-worthy villains.
Most problematic of all is the character of fictional FBI Agent Jack Solomon (Jack O’Connell), who is tasked with leading the surveillance and digging up dirt on Seberg and becomes deeply conflicted about his job.
There’s something wonderful, albeit borderline shameless, about a movie that gives Billy Crystal a hall pass to indulge his corniest instincts, from his character’s gimmicky hat to his karaoke scenes to his baseball-influenced memories.
The only thing more insane and contrived than the Big Reveal is the epilogue, which contains not one but two maddeningly bizarre developments that are beyond strange and inconsistent, even for a movie that’s been strange and inconsistent all along.