Daniel Roher’s modern noir has an appealing cleverness and lightness of touch.
In the Grey has a jaunty spirit that cuts against the dour grain of many modern action films.
Two Pianos only flirts with questions about the sacrifices made for art.
Power Ballad merely hums when it should soar.
Peet finds layers of shading in what could have been a dull and simplistic role.
The film is a fevered look at a man on the run from his crimes and himself.
Cooper’s third feature is playfully fascinated with the art and psychology of performance.
The Woman in Cabin 10 doesn’t waste time but also jumps to its climax too rapidly.
Shane Black’s film plays like a misguided action extravaganza from the 1980s.
The film is an emotional depiction of the gaping holes left by Buckley’s untimely death.
Rithy Panh’s film is hard-hitting yet illusive, much like the story its characters are hunting.
Very little about this murkily shot film generates much in the way of thrills or emotion.
With Mountainhead, Armstrong is sticking to a kind of satire he knows well.
Gazer sidles up to its story cautiously, mirroring its main character’s questioning nature.
The film has more on its mind than charting the rise and fall of another troubled icon.
The film attests to Hujar’s devotion to exploring the relationship between high and low culture.
The film scatters itself across multiple plot angles that confuse more than clarify.
The musical is lesser Kander and Ebb, but it still contains a critique that’s barely visible here.
If all that it had going for it was its gonzo concept, the film would be a pretty dire affair.
At times, the series feels like a thriller straining toward a more elevated fiction.