It wants to be shocking in its profane and gross out humor, but there's never a moment that doesn't seem reminiscent of dozens of other comedies in recent memory. Melissa Rauch is trying hard here, but The Bronze never comes across as anything much more than a sad attempt to carbon-copy the work of Jody Hill and Danny McBride.
Shit's been done, man.
Gary Cole and Thomas Middleditch help to make it semi-watchable, some of the time.
Though I was not sure we needed an expanded, bigger studio version of his short film from three years ago, David F. Sanberg proves that he is capable of giving us some of the most respectable horror in recent memory.
The film stays true - for the most part - to the ominous, "less is more" tactics of the effective short, and even closes out in a satisfying way. Teresa Palmer and Maria Bello are solid, even if Bello is playing the distraught, disturbed middle-aged woman for the hundredth time this decade.
No film this year took me by bigger surprise than Silver Linings Playbook, a dazzling romantic comedy featuring the type of dysfunctional people that reside in David O. Russell's wheelhouse as a filmmaker. Not since Three Kings and Flirting With Disaster has he been so in tune with his strengths, and it resulted in what might be his crowning achievement.
As much as both The Fighter and I Heart Huckabees are enormously appreciated by most people, I found each of…
I know I'm in the minority with my opinion that The Aviator is Martin Scorsese's absolute best movie in over twenty years, probably since Goodfellas. It's a jaw-dropping marvel to witness in all aspects of filmmaking.
There isn't a single performance that misses the mark (unless you really want to count Gwen Stefani), the score by Howard Shore is one of his absolute best, the visual effects are tasteful, the cinematography is gorgeous and graceful, and the subject Howard Hughes…