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John Krasinski

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Big Miracle - review

Review: Big Miracle

Taking a tip from the oil industry, Hollywood has started exploiting Alaska. Following in the tracks of The Grey is Ken Kwapis's take on a true story from 1988 about an effort to save gray whales trapped in the Arctic ice. Surprisingly, the film offer
Ken Kwapis's take on a true story from 1988
By PETER KEOUGH  |  February 03, 2012
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Review: Birdemic: Shock and Awe

Birdemic: Shock and Awe begs to be judged on the compellingness of its awfulness — if not by its creator, James Nguyen, then by its distributor. So here goes.
Campy, no-budget homage to Hitchcock
By BETSY SHERMAN  |  June 04, 2010
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Review: It's Complicated

It's complicated, and so are my feelings about Nancy Meyer's predictable and overlong boomer-bait rom-com.
Indeed it is
By MIKE MILIARD  |  December 25, 2009
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Review: The Strip

In lieu of Steve Carell’s hopelessly inept and earnest manager, we have his creepier duplicate, Glenn. Instead of the boorish brown-noser played by Rainn Wilson, there’s the more obnoxious Rick.
Springs from the format of The Office like a blurred reproduction from a bad copy machine.
By PETER KEOUGH  |  December 04, 2009
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Review: Brief Interviews With Hideous Men

Bleeding admiration for the David Foster Wallace stories on which it’s based, John Krasinski’s directorial debut follows Sara Quinn (Julianne Nicholson) as she interviews men about their sexual proclivities for her master’s thesis.
John Krasinski takes on David Foster Wallace and succeeds
By JASON O'BRYAN  |  November 06, 2009
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Review: Away We Go

Dave Eggers and Vendela Vida had a baby last December, their second, and congratulations for that. But not for this self-righteous, pseudo-hip, cutesy-wootsy, cringe-inducing screed.
Sam Mendes furthers his descent
By PETER KEOUGH  |  June 12, 2009
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Secret-agent meh

Tthough Chuck is programmed as a comic-action hybrid, it doesn’t do either particularly well.
NBC’s Chuck is a concept in search of a show
By RYAN STEWART  |  October 21, 2008
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Leatherheads

Behind the camera and in front of it, George Clooney has glorified screwjobs (Chuck Barris) and romanticized bygone eras.
A plucky play that takes its eyes off the ball
By TOM MEEK  |  April 09, 2008
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License to wed

From its anonymous title down to every last moment of its pleading humor and shoehorned uplift, License To Wed is soaked in sloth and cowardice.
Sniveling toady of a film
By CHRIS BRAIOTTA  |  July 03, 2007
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Deconstructing Dwight

Nobody expected this.
How NBC's The Office silenced the snobs
By RYAN STEWART  |  September 26, 2006

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