The film builds on a docudrama realism while also reaching toward the mythological.
The film’s humor is a clenched-fist assault on runaway greed and systemic corruption.
Sam and Andy Zuchero’s film suggests a Pixar film by way of Stanley Kubrick.
Eisenberg’s film doesn’t embraces easy answers or platitudes.
The Crime Is Mine draws on the same giddily rules-trampling pre-war mood as Chicago.
The film is a celebration of people’s desire for everything that’s beautiful and fleeting in life.
The excitement that the film tries to generate for its main characters is disturbingly glib.
This flashy legal melodrama is too flabby to deliver the walloping blow that it needs.
Threaded alongside the show's meta commentary was a poignant look at loneliness and purpose.
It’s a testament to the cast and filmmakers that The Lesson’s mysteries are worth unraveling.
At its most engrossing, the film vibrantly sketches out the historical roots of the leagues.
Anderson moves even closer to cultural curation and further from sustained storytelling.
Philippe’s essay film is both dead-serious about its subjects and playfully exploratory.
Many of the actors occasionally elevate the film above some of the more clichéd family humor.
The show’s mixture of comedy and fantastical nostalgia is as intoxicating as ever.
Alice Winocour’s film is a largely pragmatic ode to Paris’s resilience in the post-Bataclan era.
The film wants for deeper characterizations or a closer detailing of criminal procedure.
Whether or not Vasilis Katsoupis’s film achieves escape velocity from genre limitations though overt sociopolitical commentary is questionable.
The film is impressive for how it holds its protagonist’s view of the world separate from its own.
BlackBerry deflates the personalities at its center in the vein of Mike Judge and Judd Apatow.