Movie reviews of The Massie Twins

It’s all just as unoriginal and goofy, but without the fun of James Gunn’s version’s self-aware humor. And, with its combination of so many disparate personas, it’s too busy, convoluted, disorderly, and stuffed with pointless interactions. Review

Genuinely moving moments arise, made more powerful by the fact that, like the aforementioned concepts of Chaplin, language is unnecessary in conveying universal emotions. Review

The creativity is surprisingly limited; even with greater resources, advanced moviemaking magic, and fewer restrictions concerning visual censorship, the writers couldn’t come up with something more absorbing and less plodding. Review

It’s all so convoluted and slow, save for the various love stories that have little to do with the main conspiracy, yet are entirely more moving. Review

With a general cinematographic ugliness, desaturated to the point of virtual colorlessness, paired with uninspired sets, terribly bland supporting characters, routine familial and social interactions, and generic dialogue, there’s no question that this is a low-budget endeavor. Review

Other than the fact that the studio was able to uncommonly regroup the three headliners so many years later, there’s little reason for this picture to exist; the handful of minimally funny moments – and a partially moving, satisfying finale – aren’t quite enough to mark a worthwhile reunion in feature-length form. Review

The main premise opens the door to all manner of dark magic and supernatural shenanigans, yet few of them leave any impression at all. Review

Build to the climax, in which the railway children must band together for a rescue of sorts, is moderately pleasant, even if, once again, the resolution is entirely too easy and manufactured. Review

A respectable movie exists somewhere within all the repetition and dawdling artistry, but Dominik’s cut can’t manage to single that out, instead leaving a prolonged, unsatisfying fictionalization of all of Marilyn Monroe’s most unattractive details – and of the most unpleasant rumors. Review

Unfortunately, even though the message is monumental, the design of this picture is too simple and straightforward to impart much gravity; it’s a strangely forgettable production with few rousing shots, save for the finale. Review

Once again, as with the previous, terribly unnecessary chapter, the characters here are largely disagreeable and unlikable, which ultimately makes their various exploits inconsequential and meaningless... Review

Even before details finally arrive, it’s evident that the constant jitteriness commands entertaining psychological thrills. Review

That unambiguous focus wouldn’t normally be a problem, except that the script struggles to remain consistently funny. Numerous sequences fall incredibly flat. Review

Even with the flashbacks, split screens, and countless location changes – a mix of trite mystery ingredients and anticipated inclusions with zippy, stylized visuals – the presentation feels fresh and fun. Review

Despite the ludicrous courtroom shenanigans, Miracle on 34th Street is primarily a sentimental, heartwarming piece, designed to be a fluffy bit of yuletide entertainment. Review

The romantic moments are unusually entertaining, largely thanks to the humor applied, turning some of the flirtation into comedy skits and others into hilarious notes on Diego’s effeminate facade, generally to the amusement of his foes, who are only further disarmed. Review

Though the runtime is far too long and the gags are never laugh-out-loud funny, Russell is simply perfect as the kooky mentor keen on disrupting normalcy and injecting carefree spontaneity into every situation; were it not for her agreeable portrayal and comic timing, Auntie Mame would be entirely forgettable. Review

As “Nine to Five follows a loopy heist-movie formula, with the three heroines hilariously scheming to correct their misdeeds, the humor tends to win out over the frivolities (amplified by upbeat musical cues). Review

At least the music by David C. Williams is intermittently amusing, and the order of deaths is unpredictable, though these elements are not enough to save the project from an exhausting amount of lulls, countless bad ideas, and a ludicrous finale designed like a hokey rip-off of Predator. Review

The visuals are absorbing, the notes on all-consuming love are moving, and the music by Tom Holkenborg is grand, but this finale precipitately and utterly derails what could have been a harmonious fantasy by injecting a feeble dose of modern people’s incompatible longings. Review

Though the tone is consistently – and purposely – insincere and juvenile, the story and its execution are terribly ineffective (and intermittently nonsensical), lending to a routinely yawn-inducing sci-fi yarn. Review

The unstoppable pairing is arranged as a challenge for Jan, yet the writers are smart enough to incorporate a dash of proper comeuppance, some cinematic forcefulness, and clever parting shots. Review

Even with few surprises, an unfortunately tidy ending, and largely uninspired scripting, it’s rare to see a theatrical killer animal movie (and rarer still to see one with an A-list star), which makes Beast a decent watch (its brief running time is highly appropriate) and a dependably suspenseful exercise in Mother Nature vengefully striking back. Review

And though the film carries on a touch too long (a few sequences serve only to reiterate), the flurry of shouting matches and the matchmaking romances keep the humor consistent. Review