Fast & Furious 6
The Hangover Part III
Inside Llewyn Davis
When the heartfelt professions of love and soul-unloading declarations of betterment are emulsified down to mush, all that remains is a swiftly evaporating run-of-the-mill residue.
| Original Score: C
The sisters are merely agents in Jack's maturation in what is ultimately a Judd Apatow film on a microbudget.
| Original Score: 2.5/4
An improvised pseudo-farce that tumbles into melodrama -- in between all the long, LOOOOoonng heart-to-heart talks.
| Original Score: 2/4
It's pleasant as far as it goes. For all the blithe interaction among the central three performers, however, the material's conventional and predictable.
I think I need a break from Mark Duplass for awhile. At least, from the Mark Duplass who isn't arguing about fantasy football with Ruxin and Taco.
| Original Score: 1.5/5
The setup is intriguing, but just as Shelton gets her hands dirty with the mess her characters have made, it's winding down to a seemingly improbable conclusion.
| Original Score: 3/10
Thrives on awkward moments.
Shelton is too much in thrall to improvisation, and letting the actors "find" their characters.
Movies that start well and end badly occur often enough, and yet even knowing that is no preparation for what happens to Your Sister's Sister.
"Your Sister's Sister" follows the indie-cinema blueprint to the letter with one exception: One of the film's characters is a lesbian.
Lynn Shelton's fourth feature after her well-received "Humpday" demands more patience than understanding.
| Original Score: 5/10
...chick flick city...a ménage à trois-lite...agonizing to watch poor Emily Blunt laugh uproariously at contrived, slice of life conversation made with her sister
Even amidst the excessive chatter, Emily Blunt shines most of all.
Expertly makes us squirm for about half its running time only to soothe us with empty pop-psych declarations.
The low-budget film relies on character authenticity but ultimately requires too much suspension of disbelief.
For a film that relies on conversation and connection, it's awfully plot-heavy, full of "Aha!" dramatic revelations that feel more suited to a soap opera than an indie dramedy.
This time out, Shelton seems to be playing the part of someone who doesn't know how to finish what she started.
| Original Score: C+
Places too much external pressure on the characters; the conflict is already there.
The jabber is maddening, but with all due respect, the actors are wonderful, the performances as natural as inhaling. Still, in Emily Blunt's case, there is such a thing as too natural.
As artificial as a Hollywood rom.com... With a different cast, a bigger budget, and some punched-up dialogue, it might have been made by Judd Apatow.