by Walter Chaw A cacophonous mess of misguided revisionism and misplaced emphasis, Simon Wells's (and an uncredited Gore Verbinski's) updating of H.G. Wells's poli - sci - fi
schlock masterpiece The Time Machine is a miasmic disaster, a sinkhole of shrug - worthy special effects, matte paintings, relentless music, and dangling plotlines and motivations.
Not exact matches
It's potentially gratifying to think of Trick» r Treat as a misogynistic throwback to the glory days of slick mainstream exploitation in the 1980s — like Funhouse, for instance — except that unlike, say, Charles E. Sellier Jr.'s
masterpiece of
schlock Silent Night, Deadly Night, the misogyny in Dougherty's film is based primarily on inexplicably poor object choice.