Movie reviews of The Massie Twins

It may borrow from – or pay homage to – a number of other popular detective stories and premises, but it’s nevertheless consistently humorous and entertaining. Review

Although the majority of the picture is light and airy, even during action-packed moments, there are some darker scenes that are sure to stir emotions – even if their lasting effects are transitory. Review

With Scorsese’s brand of gangsterism, which tends to blend bloodshed with cheery classical tunes and a wink and a smirk, The Irishman is off to a good start. But unlike in Goodfellas, the biographical chronicle doesn’t always feel as if it’s heading toward something concrete. Review

Every role in Charlie’s Angels is bland or stereotypical; the scripting is pitiful; and the chemistry is nonexistent, which greatly hurts all the sisterly bonding and important feminist sentiments. Review

It’s all quite fitting, following along with the rest of Hammer’s Karnstein series, in which mysteries are entirely predictable, attractive women are plentiful, the ending is abrupt, and unintentional silliness abounds. Review

Thanks to the terrible mismatch of the leading couple, jealousy and discontent brews, routinely numbing the comedic components. Review

It’s also hilariously sarcastic, action-packed, and highly unique; who would have predicted that a bodiless automaton could be such a rousing superhero? Review

Audiences of the era may have been fascinated to see the inner workings of the upper crust – and perhaps overjoyed at their steadily deteriorating lives and relatable frailties – but these are painfully dull, generic ordeals. Review

Sadly, however, the visuals can’t compose the movie alone. Review

Doctor Sleep works best as a separate entity with its own distinct tone and purpose, nodding to “The Shining” but existing largely as an independent work. Review

The enigma is strung along until the very end, morphing into something along the lines of a self-fulfilling prophecy; but every ounce of creativity is met with an equal serving of disappointing nebulousness. Review

Occasionally, however, it’s all so stupid that it’s either laugh-out-loud funny or borderline boring. Review

Unlike in Terminator 3: Rise of the Machines, this sixth entry doesn’t even possess a single set piece worthy of revisiting. And when a Terminator film doesn’t have awe-inspiring action, it really doesn’t have anything at all. Review

Fled may be derivative of too many other properties to keep track of (the dialogue certainly doesn’t provide anything original), but it’s nevertheless consistently watchable (further aided by an escalating series of nonsensical set pieces and a laughably unofficial resolution). Review

Interludes of seriousness transcend Jojo Rabbit from mere laugh-out-loud funny send-up to a masterpiece of human nature, indoctrination, loss, love, and emotional resonance. Review

It’s all brawn and no brains. Review

The action is amusing, the humor is consistent, and the pacing is efficient; it’s not exactly original anymore, nor is it high art, but it remains completely enjoyable. Review

There’s just nothing special about this world, its populace, or the brand of fantasy surrounding them, resulting in a feeling of nonchalance concerning the additional two hours spent focusing on their customs and origins and plights; it’s not unwatchable, but it’s far from entertaining. Review

Even when interactions remain low-key, Shaft’s screen presence and larger-than-life attitude are enough to spice things up. Review

Smith and Winstead make an amusing team during the action scenes, but little else can be taken seriously enough for this to succeed as an A-list thriller. Review

Tone-Deaf continually ignores opportunities for logical explanations, defaulting on a blame game between baby boomers and millennials as a reason for a literal clash and showdown in a haunted mansion. Review

Filling in the gaps are bits of slapstick, comic montages, and a light love triangle. The predicaments are insincere, the supporting roles are insignificant, and the premise is flimsy; yet Elvira is an entirely watchable character, merging gothic titillation and a killer figure with bad puns and nods to iconic movies. Review

Similarly, there’s no flair in the filmmaking itself; the progression of the plot is formulaic and conventional, bounding along with predictable music and montages. It may be based on real people, but creative exaggerations appear tragically underused. Review

Yet Joker’s boldness and originality, particularly in the realm of comic book character adaptations, doesn’t always translate into entertainment value. Apart from Phoenix’s unforgettable turn, the film is unrelentingly unsettling. Review