The film suggests Dungeons & Dragons for political science and national security nerds.
The film is a loving, personal tribute to the filmmaking duo known as the Archers.
The O’Connor of Wildcat is a contentious outsider who seems ill at ease in her own skin.
The film is at once among Allen’s most economical works and one of his most free-spirited.
This romanticized series mostly suggests rather than shows the horrors of a totalitarian regime.
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 embrace 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.