Movie reviews of The Massie Twins

Though the film sticks with few sets and characters, resembling its stage origins, it’s still effective as a theatrical relationship drama, examining both youngsters and the older pairing of Rosemary and Howard Bevans, resulting in moderate humor but also considerable unease... Review

The film isn’t as creative or exciting as it could have been, what with its general lack of surprises, but for fans of the series, Prey is a worthy addition, bringing back one of the horror genre’s greatest out-of-this-world killers. Review

Every confrontation and showdown is ultimately just a setup for a joke, doused in blood and gore as they may be, turning Bullet Train into something along the lines of a live-action cartoon, full of uninspired assassins accidentally succeeding in slaughtering one another as they trade pretentious philosophical contemplations. Review

Fonda and Voight are absolutely exceptional, giving this tale a staggering genuineness and depth. Not a single line of dialogue sounds exaggerated or unconvincing. Review

Familial interactions and work-related issues put a pause on the adventure, though they’re useful for demonstrating vivid imaginations and incredibly perceptive people deciphering clues from cryptic references. But they’re not enough to stifle the entertainment value – as well as the nail-biting finale. Review

Williams is a one-man army, easily carrying the film with his larger-than-life personality and ceaseless energy; no level of graveness (which lends to a poignant conclusion) can dampen the master comedian’s effervescence and wit. Review

Most effective of all, however, is the unpredictable nature of his storytelling and moviemaking; it’s hypnotically nightmarish (but peppered with hilarity, alternating chills with feel-good valiance), highly original (a difficult feat for this era of cinema), and thoroughly entertaining – both as a rollercoaster ride and a popcorn flick. Review

Boasting an energizing blend of Western showdowns in sci-fi environs at the climax – as well as a few impressive, expansive exterior shots of the station – this space-going actioner is an entertaining, competent, unique mix of genre films. Review

Some of these moments are amusing, making use of slimy puppets, tentacled creatures, pulsating wounds, and buckets of fake blood, but unconvincing miniatures and a terribly unoriginal, notably derivative premise (and a silly conclusion) work to keep this early ’90s deep-sea monster movie an obscure curio... Review

Though it’s overlong and concluded with too many codas that don’t truly fix or resolve anything, there’s still fun to be had with Gosling and de Armas’ spirited teamwork; it’s difficult to tire of their violence-soaked, coordinated assaults against swarms of nameless, faceless, balaclava-clad, gun-toting soldiers. Review

It hardly matters that the denouement is so pointlessly overlong that it threatens to make viewers give up on ever learning the truth – or feel contented with such a storytelling void. Review

Zelig is excellently paced, smartly conceived, cleverly written, and impressively different from writer/director Woody Allen’s previous efforts. Review

The sustained weirdness, unnerving ambiguity, and classical music are highly winning traits. Review

The filmmakers’ optimism and favoring of luck (even with glimpses of rioters and looters and humanity crumbling under existential pressures) lends to an unforgettable resolution. Review

It helps that Hawn and Atherton are sympathetic while making countless bad decisions, accruing so many that their survival is in itself an unbelievable feat, lending to a finale (and a bizarrely unsatisfying – or unfair – coda) that can’t stave off tragedy forever. Review

Instead of the glitz and glamor its big budget should provide, Thor: Love and Thunder feels as if the Z-grade television schlock of Flash Gordon or Buck Rogers. Review

Despite its adorable outward appearance, Marcel the Shell with Shoes On may struggle to find an audience. Review

Though the premise isn’t particularly original or memorable, Streisand’s turn is incredibly fitting, approaching the intermission with an absolute showstopper. Review

Some of the humor is moderately effective, though it generally strives for light chuckles rather than belly-laughs; in its efforts to be cute rather than clever the film quickly grows tiresome. Review

Dietrich, despite having a couple of clamorous outbursts, is never quite convincing, even if her part is undoubtedly significant to the film’s success. And while the conclusion is a touch overwrought, the parting shots are terribly satisfying. Review

The film’s strength is in the casting and script, but, like any work focusing on a particular zeitgeist, its resonance will fluctuate highly depending on the viewer. Unfortunately, the humor, even during the more notorious sequences, is never strong enough to transcend the limitations of its minimal scope and setting and lack of a traditional narrative. Review

Shampoo is immediately blithe and quirky, operating at a breakneck speed through comically verbose dialogue. It’s also amusingly complex in its relationship designs, considering that everyone knows everyone else through one sexual liaison or another. Review

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