Movie reviews of The Massie Twins

By the end, it’s laughable how hard the filmmakers try to make Ambulance suspenseful or edgy or unexpected; as the picture rambles along, refusing to end the exhaustingly protracted chase, it keeps growing more inane and less convincing. Review

There are still a few surprises that have the potency to remain memorable, but, ultimately, when devious, dishonest people use one another for two hours, the end result is rarely satisfying. Review

As trippy as it is, it’s also incredibly sweet, examining choices, paths, temptations, and possibilities with a deft tenderness; it’s as much of a love story (alternating even between motherly love, sisterly love, spousal romance, and off-the-wall sexuality) as it is a sci-fi opus of the grotesque. Review

The pacing of this third film is excellent. It wastes no time in not only founding a simple yet amusing premise, but also in transitioning from one action scene to the next. Review

By the end, this watered-down romantic comedy is just as forgettable as Jungle Cruise, Red Notice, and Uncharted, all recent actioners coincidentally boasting their own jungle-bound treasure hunts with diluted love stories and insipid antagonists. Review

Fortunately, however, Rylance is an exceptional lead, managing a natural sympathy in his feigned harmlessness, while the use of a single set and very few personas creates the feel of an intimate stage play, aiding the character development and the suspense of erratic violence. Review

This kind of dialogue-heavy, action-less ordeal full of despicable personas entangling themselves in criminal endeavors won’t appeal to everyone, but it’s an excellent occasion for Davis to show her chops as a villain. Review

Kaye’s comic timing proves to be at its very best here, rotating identities through an outrageous hypnosis routine, juggling covert missions that seem impossible to sort out, and accidentally accomplishing assassinative feats. Review

At least there’s moderately effective humor and an amusingly chaotic monster-movie finale, while Pixar’s animation is top-notch as anticipated (the character designs leave much to be desired, however). Review

This just might be for diehard fans alone; less faithful viewers will surely wonder what has happened to all of the standard exhilaration and the general sense of fun. Review

By the end, however, some of the gags are genuinely entertaining, even if the majority of the picture is colossally inane; it may not inspire belly-laughs, but chuckles will come easily enough. Review

Pleasant, coming-of-age romance crops up, but by the end, it’s the dramatic interactions that remain most exceptional; the plot is thoroughly inspirational, exceptionally sweet, and regularly emotional, even if it sticks to a rather predictable formula. Review

There is a hint of an arc, however, steadily (and sometimes excruciatingly) progressing to a place at which both distressed souls can finally feel like winners – but it doesn’t quite work out. Review

There are intermittent nods to Indiana Jones, but no favorable recreations in tone or action or character designs; the exhilaration of archaeology, as so famously manufactured by that fedora-adorned adventurer, is nowhere to be found here. Review

Part of that is thanks to the script, which is careful to balance the casual deception and their unavoidable good natures, but the majority of it is Day and Slate playing personas nicely molded around the veteran comedians’ typical roles. Review

It’s a notable mystery story from one of the most celebrated best-selling fiction writers of all time, but here the flow is unbalanced, unable to be visualized as consistently nail-biting or absorbingly intellectual... Review

At least there are convincing props and decent CG mayhem, even as the actors spout horrendous dialogue and devise last-minute plans that conveniently utilize the main cast (and virtually no one else) among the stars. Review

Despite the obnoxiously overdramatic nature of several sequences, there are still a number of amusing moments of action and a modestly competent emotional interaction or two. Review

Despite the faults in a few details and some overly contrived designs, director Brian De Palma has crafted a nicely twisty little thriller. Review

Michael Caton-Jones creates a rousing, tension-filled thriller full of personas worth investing in. Review

It’s not always convincing, but it has a certain charm to it – as long as viewers can keep their expectations to Z-grade ’70s exploitation mode. Review

Thanks to the careful character development, the main personas are exceptionally entertaining, despite the constant sense of ruin that hovers over their every embrace. Review

As Scream pretends that being grossly unoriginal and extremely repetitive is some purposeful, clever decision, it winds up only being grossly unoriginal and extremely repetitive. Review

But even amid the roughhousing, the unbelievable luck, and a considerable misunderstanding of the rules of the game, the romantic parting shots prove most memorable. Review