Movie reviews of The Massie Twins

Even with the unnecessary exposition and backstories, The Last Man on Earth is routinely fascinating. Review

It again takes away from the mystery, which is entirely guessable, devolving into something more outrageous, perverse, and trivial than plausible or nerve-wracking. Review

With Noah’s unflappable calmness and worldliness clashing with Deborah’s fiery demeanor, the love story is also diverting. Review

Egregious amounts of violence crop up, but they’re mitigated by the constant silliness surrounding them. Review

Anything but a glamorous picture, yet it still possesses a cinematic grittiness and a satisfying resolution. Review

The humor isn’t always laugh-out-loud funny, as it’s occasionally based on crafting awkward moments designed to make viewers distressed, but Lemmon and Matthau have an undeniable chemistry that allows their highly contrasting personalities... Review

Slapstick, hysterics, and delirious repetition (as well as stuttering) arrive at every turn, augmenting a terribly serious plot, injecting laughs and levity amid heartbreak and tears. Review

The extremely exaggerated facial features of disproportionate denizens are once again a highlight; the character designs contain an abundance of humor, even when the personas themselves do as little as shuffle around a room. Review

An uncommonly dark Disney release, yet it’s also full of comedy and adventure. Plus, there’s a love story in here, though it’s regularly pushed aside for humor and music. Review

The dance choreography is exceptional, with Astaire and Rogers reinforcing their collaborative effectiveness, but the combination of singing and dancing talent, comedy, and romance isn’t nearly as refined as in Top Hat a year later. Review

A madcap, slapstick type of comic conclusion, with no real hope of marital longevity. Nevertheless, it’s terribly romantic. Review

The movie is full of humor and heart, most effectively provided by Steinfeld, who manages to be both genuine and relatable, despite acting predominantly in front of fully CG personas. Review

May not be the most striking of sci-fi dramas (it definitely carries on for too long), but it’s a pleasant, life-affirming, touching bit of entertainment. Review

A masterpiece of deception and manipulation. Review

Its descent into chaotic madness is exquisite, although it’s overlong in the process, going into a considerable amount of detail for its depiction of escalating insanity. Yet the closing revelations are breathtaking and unforgettable. Review

The real stars of the film are mind games and manipulation, sharply brought to life by the restrained verbal feuding between Bogart and Robinson. Review

The refusal to play by traditional rules is thoroughly refreshing. Review

The love story isn’t as affecting and the drama isn’t as significant as many of its peers, but To Have and Have Not still boasts an exciting climax and a satisfying conclusion. Review

Instead, it feels confused, unfocused, and unsatisfying – perhaps a result of studio meddling and the director’s waning visionariness. Review

The Master of Suspense may prefer to manipulate his viewers, but he’s not so ruthless as to deprive them of a supremely satisfying finale. Review

His brand of monster is nuanced, unique, and highly cinematic. Review

May be low budget and devoid of stars, but the music by Edward Bilous is rather rousing, if a touch overdramatic. Review

It’s a fascinating study of crime and consequences, of love and fatalism, even if the parting shots are contrived and rushed – but also perversely poetic and redemptive. Review

By the end of this bloated, small-town crime saga, a few moderate (and guessable) surprises turn up, but they’re not shocking or severe enough to warrant such a long, meandering theatrical adaptation. Review