These are all the movies and series that The Massie Twins has reviewed. Read more at: Gone With The Twins.
Number of movie reviews: 1190 / 1190
Years
Most effective of all, however, is the unpredictable nature of his storytelling and moviemaking; it’s hypnotically nightmarish (but peppered with hilarity, alternating chills with feel-good valiance), highly original (a difficult feat for this era of cinema), and thoroughly entertaining – both as a rollercoaster ride and a popcorn flick. Review
Boasting an energizing blend of Western showdowns in sci-fi environs at the climax – as well as a few impressive, expansive exterior shots of the station – this space-going actioner is an entertaining, competent, unique mix of genre films. Review
Some of these moments are amusing, making use of slimy puppets, tentacled creatures, pulsating wounds, and buckets of fake blood, but unconvincing miniatures and a terribly unoriginal, notably derivative premise (and a silly conclusion) work to keep this early ’90s deep-sea monster movie an obscure curio... Review
Though it’s overlong and concluded with too many codas that don’t truly fix or resolve anything, there’s still fun to be had with Gosling and de Armas’ spirited teamwork; it’s difficult to tire of their violence-soaked, coordinated assaults against swarms of nameless, faceless, balaclava-clad, gun-toting soldiers. Review
It hardly matters that the denouement is so pointlessly overlong that it threatens to make viewers give up on ever learning the truth – or feel contented with such a storytelling void. Review
Zelig is excellently paced, smartly conceived, cleverly written, and impressively different from writer/director Woody Allen’s previous efforts. Review
The sustained weirdness, unnerving ambiguity, and classical music are highly winning traits. Review
The filmmakers’ optimism and favoring of luck (even with glimpses of rioters and looters and humanity crumbling under existential pressures) lends to an unforgettable resolution. Review
It helps that Hawn and Atherton are sympathetic while making countless bad decisions, accruing so many that their survival is in itself an unbelievable feat, lending to a finale (and a bizarrely unsatisfying – or unfair – coda) that can’t stave off tragedy forever. Review
Instead of the glitz and glamor its big budget should provide, Thor: Love and Thunder feels as if the Z-grade television schlock of Flash Gordon or Buck Rogers. Review
Despite its adorable outward appearance, Marcel the Shell with Shoes On may struggle to find an audience. Review
Though the premise isn’t particularly original or memorable, Streisand’s turn is incredibly fitting, approaching the intermission with an absolute showstopper. Review
Some of the humor is moderately effective, though it generally strives for light chuckles rather than belly-laughs; in its efforts to be cute rather than clever the film quickly grows tiresome. Review
Dietrich, despite having a couple of clamorous outbursts, is never quite convincing, even if her part is undoubtedly significant to the film’s success. And while the conclusion is a touch overwrought, the parting shots are terribly satisfying. Review
The film’s strength is in the casting and script, but, like any work focusing on a particular zeitgeist, its resonance will fluctuate highly depending on the viewer. Unfortunately, the humor, even during the more notorious sequences, is never strong enough to transcend the limitations of its minimal scope and setting and lack of a traditional narrative. Review
Shampoo is immediately blithe and quirky, operating at a breakneck speed through comically verbose dialogue. It’s also amusingly complex in its relationship designs, considering that everyone knows everyone else through one sexual liaison or another. Review
The love story is ultimately the most engaging component, made convincing through superb performances. It certainly helps that the dialogue is natural, kind-hearted, and sweet; adversity comes not from typical villains but from angst and the poor decisions stemming from that anxiety, usually wrapped up in revealing conversations. Review
It’s not specifically judgmental, but it unequivocally displays the ugliness of making pornography, perhaps along the lines of Showgirls (with a hint of The Neon Demon), but sans the lengthier character studies and professional actors, and only briefly touching upon the business side. Review
Yet even as the plot progresses with a formulaic air, not failing to surprise as much as it merely evenly spaces the action and exposition and comedy, the sense of limitless possibilities keeps things exciting. Review
Not every point of execution is perfect (several scenes could have been trimmed), but A Cry in the Dark is nonetheless considerably entertaining in its presentation of the famous case. Review
The plot is so familiar, the action so routine, the revelations so unmemorable, and the personas so numerous and unstimulating that the entire production feels as if a greatest hits compilation instead of a brand new, big-budget dinosaur extravaganza. Review
Though The Legend of Hell House isn’t as visually appalling as many of its brethren it sticks to dependable formulas, creating decent thrills. Review
Pervasive weirdness, even if nonsensical, tends to win out in these kinds of tales; afterwards might be a different matter, but at the time, many of the concepts appear sincere – especially the build to a rambunctious climax. Review
As he tunnels deeper into the rabbit hole of bizarreness, Cronenberg’s realm of graphic mutilations certainly becomes unique. But is it entertaining? He often seems so focused on visual freakishness that he forgets to progress the plot... Review
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