Movie reviews of The Massie Twins

Though the tone is consistently – and purposely – insincere and juvenile, the story and its execution are terribly ineffective (and intermittently nonsensical), lending to a routinely yawn-inducing sci-fi yarn. Review

The unstoppable pairing is arranged as a challenge for Jan, yet the writers are smart enough to incorporate a dash of proper comeuppance, some cinematic forcefulness, and clever parting shots. Review

Even with few surprises, an unfortunately tidy ending, and largely uninspired scripting, it’s rare to see a theatrical killer animal movie (and rarer still to see one with an A-list star), which makes Beast a decent watch (its brief running time is highly appropriate) and a dependably suspenseful exercise in Mother Nature vengefully striking back. Review

And though the film carries on a touch too long (a few sequences serve only to reiterate), the flurry of shouting matches and the matchmaking romances keep the humor consistent. Review

The mysteries and motives may take a bit too long to come to light (and are decidedly difficult to buy into), but the delays create additional opportunities for boo-moments and gore. Review

At least the acting is acceptable; the stars generally feel as if portraying themselves. Unfortunately, the dialogue isn’t nearly as genuine, with many lines sounding as if copied from other properties, of which the writer has minimal understanding or a voice too unconvincing to confidently mimic. Review

This picture clearly demonstrates its inspirational and influential qualities (on a generation and beyond, lending to countless teen sex comedies to come), paving the way for edgier combinations of puerile recklessness, nudity, imbibing, cursing, vengeful shenanigans, and absurdist fantasy. Review

Though the film sticks with few sets and characters, resembling its stage origins, it’s still effective as a theatrical relationship drama, examining both youngsters and the older pairing of Rosemary and Howard Bevans, resulting in moderate humor but also considerable unease... Review

The film isn’t as creative or exciting as it could have been, what with its general lack of surprises, but for fans of the series, Prey is a worthy addition, bringing back one of the horror genre’s greatest out-of-this-world killers. Review

Every confrontation and showdown is ultimately just a setup for a joke, doused in blood and gore as they may be, turning Bullet Train into something along the lines of a live-action cartoon, full of uninspired assassins accidentally succeeding in slaughtering one another as they trade pretentious philosophical contemplations. Review

Fonda and Voight are absolutely exceptional, giving this tale a staggering genuineness and depth. Not a single line of dialogue sounds exaggerated or unconvincing. Review

Familial interactions and work-related issues put a pause on the adventure, though they’re useful for demonstrating vivid imaginations and incredibly perceptive people deciphering clues from cryptic references. But they’re not enough to stifle the entertainment value – as well as the nail-biting finale. Review

Williams is a one-man army, easily carrying the film with his larger-than-life personality and ceaseless energy; no level of graveness (which lends to a poignant conclusion) can dampen the master comedian’s effervescence and wit. Review

Most effective of all, however, is the unpredictable nature of his storytelling and moviemaking; it’s hypnotically nightmarish (but peppered with hilarity, alternating chills with feel-good valiance), highly original (a difficult feat for this era of cinema), and thoroughly entertaining – both as a rollercoaster ride and a popcorn flick. Review

Boasting an energizing blend of Western showdowns in sci-fi environs at the climax – as well as a few impressive, expansive exterior shots of the station – this space-going actioner is an entertaining, competent, unique mix of genre films. Review

Some of these moments are amusing, making use of slimy puppets, tentacled creatures, pulsating wounds, and buckets of fake blood, but unconvincing miniatures and a terribly unoriginal, notably derivative premise (and a silly conclusion) work to keep this early ’90s deep-sea monster movie an obscure curio... Review

Though it’s overlong and concluded with too many codas that don’t truly fix or resolve anything, there’s still fun to be had with Gosling and de Armas’ spirited teamwork; it’s difficult to tire of their violence-soaked, coordinated assaults against swarms of nameless, faceless, balaclava-clad, gun-toting soldiers. Review

It hardly matters that the denouement is so pointlessly overlong that it threatens to make viewers give up on ever learning the truth – or feel contented with such a storytelling void. Review

Zelig is excellently paced, smartly conceived, cleverly written, and impressively different from writer/director Woody Allen’s previous efforts. Review

The sustained weirdness, unnerving ambiguity, and classical music are highly winning traits. Review

The filmmakers’ optimism and favoring of luck (even with glimpses of rioters and looters and humanity crumbling under existential pressures) lends to an unforgettable resolution. Review

It helps that Hawn and Atherton are sympathetic while making countless bad decisions, accruing so many that their survival is in itself an unbelievable feat, lending to a finale (and a bizarrely unsatisfying – or unfair – coda) that can’t stave off tragedy forever. Review

Instead of the glitz and glamor its big budget should provide, Thor: Love and Thunder feels as if the Z-grade television schlock of Flash Gordon or Buck Rogers. Review

Despite its adorable outward appearance, Marcel the Shell with Shoes On may struggle to find an audience. Review