Joe Wright crafts an engrossing, literate film, treading water even under the weight of its director’s misguided ambitions.
The film attempts to punch up its anodyne tale of forbidden romance among members of the 18th-century Danish court with a few quirky and philosophical touches.
Bucking the dominant trend of nature docs, Dinotasia eschews anthropomorphism almost entirely.
Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
Sally Potter packs so much detail and thematic heft into 90-minute films that, given her elliptical and often unemphatic presentation, feel tantalizing but never overstuffed.
It’s occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
Rama Burshtein’s film unfolds in unhurried dramatic terms that come to take on an almost fatalistic force.
There’s no denying the ways in which Eugene Jarecki’s film effectively weds rhetorical outrage to well-researched fact.
The first sign that something strange is going on in Pitch Perfect is when we learn that 27-year-old Anna Kendrick is playing an incoming college freshman.
The film works best when it focuses viewer attention most acutely on the story, deflecting it away from the director’s manipulations.
Camille Rewinds gets its period fetishism out of the way quickly.
Thanks to Melanie Lynskey’s performance, the film feels like a believably worked-out, sympathetically presented study in thirtysomething uncertainty.
It offers a great deal, saturated with characters, plotlines, and, above all, set pieces, but it never seems overstuffed.