It’s a quiet, intimate film, the exact opposite of the alternatively bombastic and analytical orientation of Marco Bellocchio’s Vincere.
The Help is almost always more successful relating black experience than either white brutality or magnanimity.
The schizophrenic conception of Ryan Gosling’s character is indicative of the film’s largely dichotomous view of romantic relationships.
In Kevin Macdonald’s project, what ultimately unites mankind is its banality.
In the end, it’s relentless shoulder-shrugging pessimism more than misguided quirk that sinks the project.
Let’s dispense with the central question posed by Friends with Benefits right away.
The film is less concerned with the Holocaust per se than it is with the question of historical memory and the process of its recovery.
The truth is an ever elusive concept, especially in the films of Errol Morris.
In retrospect, of course, it was an all-star production.
In the director’s skillful handling, it not only makes for riveting cinematic drama, but for first-rate muckraking.