Gemini Man’s central gimmick and familiar plot come off more as Photoshop Man than a compelling drama.

Details the mental decline of a social pariah who eventually develops a new identity to cope with his pain.

Zellweger inhabits Garland so fully that we quickly forget that there’s just an actor behind the makeup.

There’s just one major problem with the whole affair: it’s morbid.

Starts off with a dramatic opening scene that’s vintage Elton, but soon bogs down under the weight of an unmistakable identity crisis.

If you can stave off the initial boredom, the plot takes off like a rocket for the film’s second half.

Not only the satisfying conclusion to a two-movie story but also the perfect payoff to that 10-year journey on which moviegoers embarked.

It packs a lesson every bit as pertinent today as it was nearly five decades ago.

This is the first great film of 2019. 

I’ve been engaged by 30-second commercials for schmaltzy Hallmark Channel love stories more deeply.

Triple Frontier is reminiscent of 1999’s Three Kings, but without the humor or the thought-out plot.

This curious, unexpected story had me in its grasp… before dropping me like a bad habit.