Movie reviews of The Massie Twins

Thunderbolts* is entertaining in all the usual ways, but can’t quite muster an identity of its own, or a novel approach that could make it stand out from the rest... Review

What is not so impressive is the entertainment value; it’s difficult to remain engaged in such a generic formula for a story, where elements of Knute’s life move forward steadily, plainly, and uneventfully. Review

Though Show Boat is a historically significant production, its construction feels very much like a straightforward generational tale that had music inserted – somewhat incongruously on occasion – into a premise that wasn’t entirely fit for it. Review

It may pose farfetched confrontations and wrap up too neatly at the end, but the careful plotting, the earnestness of its design, and the quality of its actors really help to sell the narrative. Review

Alongside Cade’s boilerplate characterization, every action trope seems to make an appearance, including eight-on-one fights, extensive reconnaissance/surveillance efforts, respect given to fellow killers, chases and evasions, vehicles exploding upon collision, and plenty of shootouts. Review

Even though it doesn’t amount to much as an original horror-comedy, it’s routinely satisfying, largely because it paints the villains with broad strokes and then gives audiences what they want to see in terms of ferocious comeuppances. Review

There’s a bit of comedy, adventure, winsomeness, charm, romance, and zaniness, but the overall amount of fun is limited. Review

When it’s funny, it’s very funny, but when it’s overly familiar or repetitive, it’s obviously so. Review

It’s exceptionally goofy and nonsensical, ending once again with a skit that cuts off too abruptly, but enough of the humor sticks that it’s still modestly entertaining. Review

It’s as if Guys and Dolls merges too many types of musicals, always uncertain of what tone it wishes to strike. Still, the climax and finale are funny and charmin... Review

While there’s a save-the-world type of plot afoot in this thoroughly uneventful musical drama, the film is unable to establish the scope of its framework to the point that it feels comprehensive or epic. Review

For a fantasy-like bit of escapism, it isn’t without its satisfactory moments. Review

Creative visual repetitions; the embarrassing yet hysterical gag of an unimpressive blind date; upbeat songs; and an absurd, raucous, joyous finale, let On the Town remain an entertaining vehicle and stepping-stone for its star Kelly, who also co-directed with Stanley Donen. Review

It’s difficult not to appreciate the environments he’s crafted, while Pattinson is exceptional in his multiple-role performance. But for a picture that should have had so many shades of gray in its moral examinations, Mickey 17 is awfully black and white. Review

While it’s all agreeable and pleasant, it’s far from outstanding; it’s a very basic, formulaic, moderate inspirational drama. Review

The performances are fine and the weightiness of the subject matter is evident, but the script is routine and sterile, carrying on too long for the pacing to maintain interest, and ending on an unconvincing speech of inspiration. Review

The singing is exceptional, made more phenomenal by the fact that Spacek does her own crooning, performing Lynn’s music in such a striking fashion that anyone’s first guess would be that it couldn’t possibly be Spacek’s voice. Review

The title tune remains memorable (as does the parting shot), but this pioneering product-of-its-time no longer possesses much filmic power. Review

Few films manage this tempo, this design of striking ups and minimal downs that flawlessly – and comically – highlights pride, humility, kindness, unselfishness, leadership, and hard work. Review

Despite the galvanizing events taking place onscreen, what really sells the premise is Cheadle’s performance. Review

It’s not always original or well-executed, but the gags unfold at a quick clip, keeping up the entertainment value as the frenetic characters conduct their chaotic plan, resulting in an enjoyable bit of family-friendly silliness. Review

The action moments are a decent contrast to the over-the-top nature of the villains, though they’re not enough to counteract the generic qualities of the supporting roles and the largely unimpressive outcomes. Review

It’s at once infuriating, saddening, inspirational, and triumphant; and during each of these phases, in which it shifts between moods as Annie and Helen’s bond grows through alternating bouts of sternness and generosity, it’s also highly, unforgettably emotional. Review

It may be an airy fairy tale, quick and simple, but it’s exquisitely upbeat and sweet, with a perfectly triumphant finale. Review