The film fulfills its mandate, even if it indulges in a bit too much RFK Jr. veneration along the way.
Rob Marshall’s philosophy for shooting action sequences seems to be roughly equivalent to his approach to musical numbers: give ‘em as little as possible.
Anthony Burns’s film adopts a loose, freewheeling tone that aims to privilege people and place over plotting.
The film plays up disagreements for the majority of its running time only to resolve all dissension in time for the concluding nuptials.
Throughout the film, Mariano Llinás shows that storytelling is as much about withholding as it is revealing.
Exodus Fall is a road movie in which, once out of Texas, nothing bad can ever happen to our children.
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