These are all the movies and series that The Massie Twins has reviewed. Read more at: Gone With The Twins.
Number of movie reviews: 1198 / 1198
Years
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
The related boo moments, however, are largely amusing, even if they also don’t precisely contribute to the movie’s interest in popularizing ghouls. Review
The Bob’s Burgers Movie is entirely in line with the television series, maintaining a faithfulness to the characters and their family dynamics, and providing further opportunities to spend time with such well-designed, cleverly-scripted, morally-uplifting, periodically hilarious personas. Review
Fortunately, when this picture dwells on training sequences and dogfighting drills (as its predecessor did), it’s immeasurably more galvanizing; the cockpit perspectives and aerial photography are downright mesmerizing. Review
It also doesn’t help that the acting is generally unconvincing or, on occasion, pitiful, while the dialogue is juvenile and the editing is paltry. Review
Ultimately, the result isn’t clever enough to actually reboot the franchise, though if this picture is successful, it might lend the same reinvigoration ploy to other forgotten Disney shows. Review
Way Down East is an epic romance, containing striking imagery, colorful characters, and heartfelt interactions, the central notion that a woman is unworthy of marriage if she’s not a virgin is unfortunately antiquated. Review
By the end, however, the unguessable nature of the killer doesn’t propel the story or maintain interest; instead, it’s the sexiness of the cast and the opportunities for death and destruction that remain engaging – though even these elements can only barely sustain a 90-minute picture. Review
It’s also partly educational, even if the technology and processes won’t stay applicable forever, but it’s mainly entertaining – the central three characters are highly personable, funny, and sympathetic. Review
With the main premise existing between other storylines, while the conclusion closes with additional loose ends and teaser snippets for upcoming movies, Doctor Strange in the Multiverse of Madness resembles the Fantastic Beasts series, serving as a mere middle piece that only marginally pushes the larger picture forward. Review
This is the kind of sci-fi tale in want of dependable components of exploitation, especially with a story and direction by Stuart Gordon. Review
The finale returns to horror genre tropes, but the overall result is still unexpectedly entertaining. Review
Unfortunately, it’s mostly comprised of little jokes as opposed to big gags, marking a pleasant but modest comedy; it’s never uproarious enough to be unforgettable. Still, the ending – though anticipated – is satisfying. Review
With all the hysterical nods to the actor’s previous works, as well as through embracing his perceived quirkiness, it’s difficult not to recommend this flick to anyone who has followed the star’s career... Review
The damsel encounters distress and the hero must stage an epic rescue, generating an exciting climax and cementing Weissmuller’s place as the original and most beloved of the onscreen Tarzan iterations. Review
By the end, The Egyptian does muster the epic vibe it sought to obtain, even if it fails to match the grandness of The Robe, which it so clearly borrows from – and from which it cannot escape comparisons. Review
At least there’s a vein of humor running throughout much of the picture, which helps the general quiescence feel moderately less tedious. But it’s still evident that virtually everything that takes place in this middle chapter is trivial, with a forced, spontaneous creation of tiny predicaments and tiny solutions, since real substance and conclusions are presumably set aside for the final film. Review
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