Movie reviews of The Massie Twins

With enchanting music by Eastwood regular Lennie Niehaus, and an unhurried, simple, convincing screenplay, The Bridges of Madison County is that rare picture full of warmth and emotion without depicting anything larger-than-life or out-of-this-world. Review

There’s potential here, but it’s considerably squandered. Review

When the beast inevitably climbs onto dry land to wreak havoc on New York City itself, it’s a riotous good time. Review

Even though there are some unexpected leaps in the plot, the emotional genuineness wins out – and the closing shot is superb. Review

Even when sizable blunders burst into unimaginable proportions, it’s difficult to be mad at these personas; they’re funny when they bicker and charming when they reconnect. Review

Them! was one of the first of the giant insect movies, spawning plenty of copycats – and it’s easily one of the best. Review

Sadly, it’s one of the blander of these fantasy forays, perhaps due in part to the minimum of action and monsters. Review

It’s a satisfying, rambunctious, cinematic end to a troubling predicament. Review

The actors are engrossing enough that pacing issues can’t rob the film of modest entertainment value. Review

It’s obvious that the pacing is slightly off, but an undeniable entertainment value can’t seem to elude this collection of hopelessly bumbling, colossally stupid crooks. Review

Although the series of feuds – and makings and un-makings of romantic entanglements – are regularly amusing, they tend to carry on a touch too long. By... Review

There are a couple of effective, artistic moments but the film’s failure to be either exceptionally romantic or outrageously gross leaves it in an unfulfilling middle ground. It’s just mostly average. Review

Bertolucci’s overarching message – and the purpose of the story – is almost entirely lost to the youthful, callow, anarchic, pervasive sex and nudity. Review

The finale is loaded with thrilling stunts. Review

Answers are kept from the audience for so long that virtually all interest wanes; even as the truth draws nearer, it’s shrouded in enough obscuration that the big reveal can’t possibly satisfy the hype. Review

The humor never quite manages to stick, even though the premise is clever, the characters are watchable, and a certain awkwardness in the interactions adds a layer of mirth. Review

But what Father of the Bride really needs – and never finds – is a few extraordinarily eccentric personas and some slapstick to even out the customariness of matrimonial stresses, expected wedding-day chaos, and gruelingly overlong procession and reception sequences. At least the parting shot is sweet and sentimental. Review

Nevertheless, the actors treat the material with continual sincerity, lending greater weight to a story that gradually grows less and less plausible, even if it transforms into something of a cathartic revenge fantasy. Review

As it turns out, the pairing of Hepburn and Grant alone (and even with George Cukor directing) can’t save a picture with no focus and seemingly no purpose. Review

Ultimately, the biggest problem is that everything feels too lengthy; the scenes and various interactions carry on too long, until all the tension dissipates. Review

It clearly has a difficult time creating an identity more memorable than the various individual pieces that would be reused in subsequent pictures. Review

The longer the film runs, however, the more it becomes obvious that good ideas ran out too quickly. Review

The pacing is off as well, since the movie is almost two hours long. Nevertheless, the martial arts are astounding, culminating in a magnificent display of the eight drunken gods techniques. Review

What started as an anarchic crime thriller transitions into volatile horror, awash with severed limbs and buckets of viscera, before finally becoming a rather goofy, action-packed monster movie. Review