Movie reviews of The Massie Twins

A combination of two unharmonious concepts into a curiously satisfying experiment that still involves twisty whodunit essentials. Review

The pacing is swift and a couple of surprises make the climax more engaging. The falling action is mostly satisfying as well, somewhat padded with extraneous notes on personal, seemingly unrelated dramas, though once again, the logistics of easy access to telephones is something of a conundrum. Review

It’s a stoner comedy without comedy, almost indescribably juvenile in its scripting and jesting. Review

The story is uninteresting to an astonishing degree. And Blue Beetle almost seems to go out of its way to be bland. Review

The conquer-the-world machinations, the unoriginal action choreography, the blandly-written characters, and the unstoppable formidability of the superspy make it so hard to care about any of it. Review

There’s virtually no comic relief; the sense of dread and the visualized brutalities are relentless, which makes the two-hour runtime somewhat overwhelming. Review

The film isn’t continuously funny, nor is it consistently suspenseful, but it does do a spectacular job of sending up Hitchcock’s classics, even when it’s a little too obvious and easy. Review

The Baker doesn’t possess the originality necessary to warrant its existence; this plot and these characters are entirely too familiar and blandly presented to make this a worthwhile bit of entertainment. Review

The story is convoluted and weakly defined; reasons behind soul-collecting, as well as ghostly capabilities, are largely ignored. Review

Unfortunately, there aren’t enough great moments to make this production altogether entertaining – despite a few solid, littler chuckles and some clever, noirish, metaphoric blunders. Review

Some of the best moments dwell on Mel Brooks’ signature brand of humor, from breaking the fourth wall to making references to other properties to racial jabs to self-aware wisecracks. Of course, there’s also juvenile or crude humor, and so many one-liners that not all of them can possibly land effectively. Review

Though it’s consistently amusing, there aren’t a wealth of laugh-out-loud moments, making it marginally less entertaining than its immediate predecessors. Review

Even with a certain realistic sadness coursing throughout the silliness – briefly acknowledging the consequences of sustained idiocy, even in the realm of comic fiction – this isn’t the type of movie that possesses much resonance, save for the few exceptionally funny moments hidden amid the general absurdity. Review

The story is expectedly flimsy, relying primarily on little thrills and jokes as the characters encounter waggish specters or wander through creepy sets. Review

The film can’t really be described as a cautionary tale, but it isn’t without historical, biographical, and educational value, as Nolan explores a comprehensive backstory. Problematically, it just isn’t that entertaining. Review

The comedy is regularly effective, but the overarching storyline leaves much to be desired. Review

The Cardinal did go on to win the Golden Globe for Best Motion Picture (Drama), and it does proceed to delve into Hitler’s rise leading up to World War II and Austria’s plebiscite, but the film still feels largely uneventful and unmoving. Stephen’s tale just isn’t transformative or unforgettable. Review

As a study of historical figures morbidly clashing over sovereignty, the film is certainly educational and a fine reproduction of 16th-century events. Review

Though the bulk of the film is one protracted chase after another, perhaps plagued by the gnawing sense that a cliffhanger ending is looming, the adventure is so keenly fashioned that it’s consistently entertaining throughout. Review

At least Lawrence embraces the material with a distinct enthusiasm and unapologetic attitude, enabling her to land many of the better euphemisms, the wittier double entendres, and the coarser sex jokes. Review

It may be modest fun to reunite some of the characters first seen on the big screen four decades ago for a cinematic farewell, but Indiana Jones and the Dial of Destiny isn’t nearly strong enough for that to have been a sufficient reason for another feature-length sequel. Review

Thanks to writing and direction by Roman Polanski, and a curiously scattered score by Ennio Morricone, a certain dread is persistent; Ford does an exceptional job maintaining the right amount of agitation... Review

Fortunately, the actors here tend to take the material seriously, despite its obvious design around improbable stretches for the sake of thrills. Review

It’s also impressive that so much of The Flash involves having two versions of Miller appear onscreen simultaneously, allowing them to create a lighthearted repartee. But when it’s reiterated often that time is inconsequential, or that characters are caught in an endless paradox, it’s difficult to dismiss just how rickety the time-travel-as-a-bowl-of-spaghetti concept is... Review