Movie reviews of The Massie Twins

The Murdock persona is simply too plain and derivative. Review

The elaborate chases and confrontations pose fleeting complexities. But with almost no dialogue for the Replicant, Van Damme isn’t half bad. Review

It’s a mystery, written by David S. Goyer, but it’s largely obvious from the start who is really behind it all. Review

It’s an admittedly silly, frivolous film, but it’s difficult to entirely dismiss the entertainment value of the simplistic characters with black-and-white motives as they face off in increasingly more ominous arenas of mayhem... Review

The nonexistent storytelling acumen are just too much to overcome; it’s all too unpretentious and uninspired and insincere to be anything but negligibly entertaining. Review

Were it not for the casting, this production could have been far less effective. Instead, though hard-pressed to be considered entertaining, it’s a well-paced, frightful little thriller that is as unnerving as it is intentional. Review

The freshness outweighs the problems, generating a fast-paced, exciting, creative – if tonally confused – bit of entertainment, with a remarkably satisfying conclusion. Review

Unfortunately, for anyone who is not already familiar with the Silent Hill franchise, this follow-up will surely pose a comparable inscrutableness to its theatrical predecessor. Review

Even with a satisfying finale and director Kenneth Branagh serving doubly as the severe main antagonist, this Tom Clancy-based actioner is exceptionally generic. Review

With Jerry Goldsmith’s exciting score and a wealth of recognizable stars the overlong and over-the-top specifics are generally digestible. Review

Gory sequences do finally arise at the climax but it doesn’t offset the unnecessary humor and the pervasive lack of sincerity. An interesting idea or two can’t overcome the mediocrity of the execution. Review

There are a couple of humorous quips about politics, a curiously effective timer countdown as the game’s four quarters expire, and a clever trick or two when it comes to climactic comeuppance. Review

It’s obvious what Aronofsky wishes to achieve, chiefly with the crime/comedy meld, but the morbidness of key components invalidates the humor; it’s just not much fun when the cruelty is so consequential. Review

It’s a dark, depressing, occasionally beautiful experiment in telling an important story, but it doesn’t do so in an indelible manner; it’s historic, tragic, and sad, yet far from unforgettable. Review

It’s an absolute nightmare, faithfully envisioning an incomparably hellish scenario... Review

Though the story is slight – a mere setup for gags about ineptitude and calamity – it’s difficult to completely dismiss the appeal of Glover and Short bickering and then making up, even if a certain monotony sets in. Review

It becomes evident that the story is missing the creativity required to set it apart from other generic actioners, relying on the general blandness of an unhinged psychopath taking hostages and shooting people indiscriminately, along with a chase or two and numerous shootouts. Review

A few stunts are impressive, while an obligatory sex scene and a related brotherly spat are quite hilarious. And although it meanders and goes on for entirely too long, the finale does boast some long-awaited duels and confrontations... Review

As if scriptless and made up on the spot, following along with nothing, the plot merely meanders, moving between locations and enemies, often breaking out into fights – and peppered with obvious but ineffective comic relief. Review

Many elements of Guns come across as a spoof of James Bond storylines, but the execution is too shabby and cartoonish to be funny or exciting or sexy. Review

The atmosphere is exceptional, retaining a ghostly dourness as comic relief is never utilized. Review

It’s not without its moments, including a remarkably satisfying conclusion. Review

To Die For keeps up its darkly humorous take on self-absorption and conspiratorial schemes. The script is quite clever. Review

Even when the picture stumbles on occasion with pacing and with character development, the production does a lot with very little, building a morbid dystopia from a handful of sets and minimal personas. In the end, it is abrupt yet satisfying and curiously optimistic. Review