‘New Year’s Eve’ movie review: great cast squandered in rom-com ensemble
If nothing else, Garry Marshall’s New Year’s Eve must have been great fun for the product placement department
December 7, 2011
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If nothing else, Garry Marshall’s New Year’s Eve must have been great fun for the product placement department
Dream House devolves into a cookie-cutter formula and choppy, abrupt editing that seems to open up retrospective plot holes
Shark Night is a relentlessly derivative, dull, and frequently idiotic movie that hopes to get by on the popularity of its title creatures alone
Womb is a deadening slog that takes a fascinating, unsettling premise and takes its sweet time to do next to nothing with it
Bad Teacher just might get some laughs out of you, even though you know better
Skyline simply doesn’t work, and it’s at times it’s unbearably bad until the film’s final five minutes, when it finally comes to life
Just Go with It might be Adam Sandler’s worst movie yet; at least the cast got a trip to Hawaii out of it
I Am Number Four is an amalgamation of just about all the other hot franchise properties from the past decade
Ron Howard’s The Dilemma is a rarely funny bromance, overlong and aggravating and without a dilemma
Season of the Witch might seem to legitimize the medieval witch hunting, or hey, take it a step further, the witch hunting in contemporary US politics
The Good Heart is about as unsubtle as (bad) silent melodrama, and within minutes it reaches an undesirable crescendo
Paranormal Activity 2 rehashes the found footage first film and expects us to eat it up just the same
The Bounty Hunter is a bizarre amalgamation of romantic comedy and buddy cop picture, synthesizing the plots of both genres as best they fit
Fish-out-of-water, opposites-attract, throw some more stale clichés in the pot and you’ve got the wretched Leap Year
The Lovely Bones is also an incredibly misguided film that feels icky and unpleasant and all sorts of wrong
And at worst, Nine is a masturbatory vanity project and an insult to Fellini
The Twilight Saga: New Moon is an unbearable slog that will appeal to fans of the series and leave all others twitching in their seats
My Life in Ruins is another parade of obnoxious stereotypes that wears out its welcome quickly
Love Happens, a well-intentioned but seriously mishandled film with precious little romance and no comedy
Gamer is a loud, incoherent, and ultimately miserable experience, but the directors are trying here
New in Town transports a Miami city girl to Minnesota, and leaves no Harve Gunderson or “don’tcha know” unturned
An unfortunate title describes its contents all-too-well in Robert B. Weide’s How to Lose Friends & Alienate People
Australia falls on all counts to do justice to its titular country as it turns in an embarrassingly crude apology
Repo! The Genetic Opera is what happens when filmmakers set out to make a cult movie: too much cult, not enough movie