Criterion continues to expand its catalog beyond the shores of North America, Europe, and Japan with this gorgeous release.
It wants to use feudal highland politics as a place to comment on contemporary issues, but so far the series only hints at this potential.
The show no longer suffers from lethargic pacing, but it’s also been scrubbed free of any residual weirdness.
Power is a warmed-over soap opera only superficially obsessed with its protagonist’s relationship to guns and drugs.
Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
Huck Botko’s film asks us to laugh at, even revel in, the misadventures of womanizing men, even as it condemns them for their behavior.
It seems to suggest that political life is so all-consuming that no happy, well-adjusted person would ever choose to be a part of it.
The end result is a bit like a beautiful diorama, in which the people share a common purpose with the furniture: to fill space and look nice.
Tom Shoval, who eschews stylistic flourishes in order to focus on character, leaves the film’s heavy lifting to the actors and his own screenplay.
Rachel Boynton remarkably reveals just how much influence corporate interests have on public wellbeing, and how rarely Ghanaians are part of any debate.
McG strips serves up a variety of slick, well-paced shoot-outs and car chases, but his technical skill can’t quite overcome the story’s lazy sense of humor and incomprehensible plotting.
The weather in Washington, D.C. continues to be permanently overcast in season two of House of Cards.
Manila’s poverty breeds its own predators and victims as the city’s poor grasp for the little wealth that hasn’t yet been distributed.
There are enough references to Ian Fleming’s penchant for embellishment that he can only be viewed as an unreliable narrator of his own story.
Like Antoine Doinel in The 400 Blows, Tarek has a way of using defiance and sarcasm to make himself seem smarter than any ostensible authority figure.
In comparison to its superior predecessors, Detour’s redemption plot feels banal and slight.