As entertaining on an escapist level as it is irrefutably engaging on a level that is essential for citizens who are players in our political environment.
How did a genre-smashing director make a heist thriller so generic, with characters too unlikable to be engaging but not twisted enough to be intriguing?
It’s all rather implausible and hugely melodramatic as it milks ham-fisted histrionics from high soap opera. A pitiable excuse for a movie.
Simultaneously the dullest and the most insulting version of itself it could possibly be. If only it had managed to be campy, that’d be something…
It shouldn’t work, but it does, as wonderfully sardonic British humor and as a reminder that you’re not alone in being messed up in this insane world.
Thinks it’s poetical and epic, and the more dramatic it thinks it’s being, the more hilariously histrionic it all is.
It’s the other alchoholic-gets-a-wakeup-call movie of 2012, though Smashed is a lot less flashy than Flight…
Actually worse than all the other horror flicks of recent vintage that assume that the audience is a vicarious sexual sadist.