Ryan Gosling’s directorial debut is a totally misguided, hollow, poorly constructed, derivative mess with virtually zero redeeming features alongside its questionable politics.
Johannes Naber’s tone-deaf ‘satire’ of capitalism can’t decide whether to be an unfunny comedy or an uncompelling character study.
SON OF THE CONGO is Grantland’s inauspicious first foray into film production, a barely knee-deep look at Congo-born NBA star Serge Ibaka.
TAKEN director Pierre Morel delivers a bloated and borderline incompetent film in the Sean Penn-starring THE GUNMAN.
Michelle Joy Lloyd’s SUNDAY is a clumsy, awkward first feature packed with uncomfortable dialogue and poorly constructed characters.
MORTDECAI is tremendously unfunny, a messy and seemingly aimless modern incarnation of the marital detective hijinks seen in films like THE THIN MAN.
Inexplicably, Sam Taylor-Wood’s adaptation of FIFTY SHADES OF GREY pales in comparison to the book itself, lacking sexual tension and featuring an atrocious performance from Jamie Dornan.
Rob Marshall’s star-studded Sondheim adaptation is a boring and gradually nonsensical traipse through familiar fairy tale narratives.
The third film in the TAKEN franchise is a bloated and by-the-numbers thriller, lifted only by its finale, which isn’t enough to save the film from being an utter waste of time,
The plot line of Exodus: Gods and Kings is the done and dusted tale of the Book of Exodus. Despite this, Scott’s film needlessly reanimates a corpse with frillier effects, a bigger budget, and a cast that entirely betrays the story it tells, alongside the people and regions it depicts.