These are all the movies and series that The Massie Twins has reviewed. Read more at: Gone With The Twins.
Number of movie reviews: 1274 / 1274
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In the end, at least the tone remains consistent, despite a couple of unintentionally humorous shots and the sense that very little in the way of storytelling has been accomplished. Review
The plot moves slowly, exhibiting all the hallmarks of a made-for-tv movie – including periodic cliffhanger scenes, fades for commercials, and cheesy transitions/... Review
At least the makeup and creature effects are memorable. Review
The dialogue is mediocre and the performances aren’t terribly convincing. Review
Despite the upgrade in visuals, some of the dialogue is still unconvincing; although the actors are acceptable, the conversations tend to range from annoying to aggravating. Review
Sequences of chaos end abruptly, never culminating in a creative bloodbath that could have saved the movie from its mediocrity; jump scares similarly stop short, planned out incredibly poorly, as if the cinematographer had never seen a slasher; there’s enough paltry comic relief to classify Up from the Depths as a horror/comedy hybrid; and the choppy editing continually defuses any suspense. Review
At least the movie features a handful of impressive stunts, ranging from fire-based shots to considerable falls to bodies thrown from detonations... Review
Unfortunately, every subsequent death scene grows more comical than the last – and goofy rather than frightening, especially with the CG. Review
By the end, pointless wirework stunts, ludicrous amounts of unfunny comic relief, Dylan’s senseless ability to withstand excessive amounts of damage, and a smorgasbord of computer-animated magic ruin the bits of fleeting entertainment value. Review
Just Before Dawn is, all in all, a surprisingly good slasher. Review
The plot is a little too simplistic and fast to overcome the natural disbelief; its suspension doesn’t have time to take effect. Review
Bloodshot may competently borrow story elements from its imitable brethren, but it regrettably fails to match the visceral fight choreography that most modern action films have adopted. Review
The end result is a competent little chiller, oftentimes using a less-is-more approach that works remarkably well with its limited resources. Review
Its greatness is in its gratifying appraisal of the human condition and its affirmation of the salvation of friendship. Review
The premise is incredibly simple, yet thoroughly fascinating. Review
Curiously, the film spends more time examining the deterioration and transformation of psyches than with the literal creeping flesh; anyone expecting a traditional monster movie about a killer skeleton will be disappointed. Review
The film is mostly comprised of sex scenes or other opportunities for nakedness, leaving little in the way of plot. This is entirely anticipated, as the project is only slightly removed from cheap porn. Review
Moss’ portrayal of a gaslighted woman is astounding... Review
Unfortunately, it’s fairly similar to the first film, which exhausted virtually all of Elvira’s one-note schtick. Review
Underneath the fantasy misadventures, replete with puzzles and curses and booby traps, is a powerful tale of catching up on lost time, brotherly bonding and conflicts, believing in oneself, and facing fears. Review
But for every thought-provoking argument presented, the two Bonners engage in some laughable courtroom theatrics to soften the severity of the masculine-versus-feminine debate. Review
It’s difficult to imagine Woman of the Year being all that satisfying when it premiered, let alone as when, throughout the years, it fails to stand the test of time, both with progressiveness and entertainment value. Review
Even with intermittent sequences of action or bloodshed, the meandering plot makes the 83-minute runtime feel like more than two hours. Review
The speculative qualities of this epic sci-fi drama are worth seeing, particularly due to the early year in which it was theatrically adapted. Review
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