Movie reviews of The Massie Twins

A Quiet Place Part II may not be as solid as its predecessor, but it’s an impressively designed, nicely matched, thoroughly entertaining follow-up that deserves to be seen on the big screen. Review

The movie keeps getting sillier, more careless with its plotting, more pointless with its killing spree, and sloppier in its execution, until it culminates in a staggeringly absurd, drawn-out, unexciting showdown. Review

Despite the familiar themes and acceptable performances, the subplots become tedious, the running time overbearing, and the content increasingly dull... Review

The bloodiness has increased right alongside the sex and nudity, utilizing modest CG but more impressive amounts of practical effects that simply look better and age better. Review

The film is rarely interested in exploring these concepts, instead routinely returning to gore, nakedness, and even action and adventure. Review

This is a preeminent, seminal gangster flick. Review

The phoniness is pervasive, blunting any chance at genuine excitement. Review

It’s never as hokey as Death Race 2000, but it certainly shares its penchant for mayhem. Review

The heisting in this picture is in top form. Review

Whimsical musical notes to supplement steely characters or actions isn’t enough to counter the grimness, nor are complementary missions smart enough to feel necessary. But the finale is a welcome surprise (of sorts), returning to the dependable romance of lighthearted fantasy. Review

The more than two-hour picture is simply too stretched out for a comedy – and there are several too many singing-and-dancing routines, as if Victor Victoria is a variety show on top of a role-reversal farce. Review

With such an engaging start, the final revelations are a major letdown – so great, in fact, that it will be interesting to see if this picture manages enough commercial success to warrant the follow-up story... Review

But a considerable amount of this film is posturing and flexing and stalling; the actual plot is mostly uneventful, doing little other than adding details about the various characters – of which there are too many. Review

Ultimately, however, much of it looks like mediocre cosplay, while the climax devolves into a mess of pitiful CG animalities – video game finishing moves that definitely shouldn’t have been translated into the realm of cinema. Review

It’s the best of the Mortal Kombat feature films, but that’s saying virtually nothing. Review

The leads are so good (working with a strong script by Arthur Laurents) that the events surrounding their relationship rarely feel as significant. Review

Many of the physical gimmicks and stunts are complex, dangerous, and brilliantly arranged. And yet, as they flounder through the act of staying alive, there’s also a sweetness and a pleasant romantic quality to their ordeal; Treadway may be incompetent, but he’s always a gentleman. Review

The epic romance never really evolves or culminates, though Anna’s hope that she’s set into motion an unstoppably progressive, gradual curtailing of showy, barbaric rule is undeniably gratifying. Review

Like the best sports movies, Hoosiers isn’t just about basketball. Second chances, willingness to embrace change, moving beyond troubled pasts, sticking up for others, and standing up to an intimidating majority are key concepts, handled with sincerity and potency. Review

Ultimately, however, the film isn’t about character development or an engaging plot. Virtually the entire running time is devoted to glistening, taut, gyrating figures in varying stages of undress. Review

The execution may not always be sound, but the sense of adventure is grand – a welcome accomplishment for the most expensive film ever made up to 1978. Review

But, as with the previous reboots, nonstop demolishment of familiar cityscapes can’t sustain an entire film; when the story is so cluttered and the human characters so unaffecting, the result is an indistinguishable collection of monster melees. Review

It’s clear that the greatest heroes are normal people summoning extraordinary courage in the face of prevalent adversity; Rae’s ordinariness lends to extraordinary onscreen entertainment. Review

There’s still far too much comedy; any sense of awe (of which terribly little exists) is drowned out by constant, immature, generic attempts at laughs. Review