I certainly admire the relentless energy and dedication it must take for Woody Allen to make a movie every single year, but sometimes I wish he'd take just a little more time. To Rome with Love is occasionally hilarious, seldom charming, and mostly stale, undercooked, and entirely scattershot. Allen brings together a dream cast and woefully squanders their talent on a series of vignettes that are barely connected, poorly paced, and mostly rehashes of plotlines Allen himself explored to the…
Even with his standard French New Wave aesthetic in full, glorious display, Moonrise Kingdom is probably the most cartoony entry in Anderson's work, even taking into account The Fantastic Mr. Fox. As a result, this is his happiest film, but also his least effective. Moments of childhood wonder and tragedy exist side by side with antics drawn straight from Looney Tunes. A perfunctory ending amps up the action, but it can't compensate for the loose narrative and character threads that just don't seem to come to any conclusion. Still, even an oddly uneven effort from Anderson is a joy to watch.
X-Men: First Class feels like a good first draft of a film. Everything about the secret Cold War history origin story seems like it should work on paper, but on screen, the film is a jumble of half-developed characters, gaping plot holes and sheer illogic. I bet it makes a killer outline, but the script is a mess.
I was willing to follow the film on a campy 60s adventure, or on a tense, dramatic one, but the film can't…
Jim Emerson said: "A horror or science-fiction movie without subtext is like Dr. Frankenstein's laboratory without electricity. The inner metaphor is what gives it life and resonance. Otherwise, it's just a story about stitched-together people parts."
It was hard not to think about this quote while watching Tron Legacy. It's a movie with such a seemingly obvious subtextual metaphor that it's overwhelmingly disappointing when the cyberspace setting is used as nothing more than a magical fantasy land where our hero…