James Foley Movies

Foley's feature debut treads the familiar turf of defiant teenagers, basically a compilation of contrivances and cliches lifted out The Wild One, Rebel Without Cause, and most recently, All the Right Moves.

Penn and Walken [are] at the top of their forms in roles that give them a lot to work with.

This patently painful flick marks the first and last time that director James Foley would tackle comedy. And the reasons why are right up there on the screen.

A brisk, entertaining contemporary melodrama.

This adaptation of David Mamet's play is every bit as compelling and witty as its source material, thanks in large part to a clever script and a bevy of powerhouse actors.

If King of the Hill couldn't draw patrons despite appearing on tons of 10-best lists, what's a comparably themed small-change remembrance gonna do?

Fear has an appealing young cast, but their efforts aren't enough to consistently distract from an increasingly overblown - and illogical - teen stalker story.

“The Chamber” is not a serious movie about anything, and so when characters are allowed to rant at length about their hatred of African Americans and Jews, repeating the most vile hate clichés, what I get from the screen is not simply dialogue but the broadcasting of dangerous language.

This uninspiring cop thriller doesn't measure up to Chow Yun-Fat's Hong Kong work.

While it may not be the best con in town, the movie still manages to entertain with its colorful cast.

Despite the presence of Halle Berry and Bruce Willis, Perfect Stranger is too convoluted to work, and features a twist ending that's irritating and superfluous. It's a techno-thriller without thrills.

Lacking enough chemistry, heat, or narrative friction to satisfy, the limp Fifty Shades Darker wants to be kinky but only serves as its own form of punishment.

Fifty Shades Freed brings its titillating trilogy to a clumsy conclusion, making for a film franchise that adds up to a distinctly dissatisfying ménage à trois.