The documentary’s aesthetic approach is purposeful, echoing the us-or-them sentiment held by the groups aiming guns at each other.
Slow Horses is more of a dark office comedy than spy show, finding most of its drama in the tension radiating between its characters.
Windfall has a difficult time landing on the right tone or getting a bead on its characters.
The Outfit is a dapper, twist-filled crime story that relies more on dialogue than gunplay to move the action.
Sharp Stick shows that Lena Dunham’s preference for solipsistic protagonists with boundary issues has its limitations.
Call Jane is curiously staid and low-wattage story where, too often, things work out just fine for its characters.
Abi Damaris Corbin’s quiet and unobtrusive style helps Breaking build tension primarily from character instead of incident.
For better and worse, Jesse Eisenberg’s satire hits its targets dead on.
The film leaves the viewer with the impression of a man trying to beat the entropic decay that surrounds him to the punch.
We Need to Talk About Cosby makes a similarly convincing argument about Cosby’s artistic greatness and cultural significance.
During an amnesiac’s atmospheric nighttime ramble through Manhattan, the seeds of a narrative are sewn but never nurtured.
The First Wave successfully emphasizes how people’s emotions were whipsawed by an unprecedented crisis.
The film pulls back the veil on Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
The end of the world may never have had less impact than it does in Miguel Sapochnik’s Finch.
Ridley Scott’s medieval saga insightfully revels in the complexities of its competing storylines.
Jessica Kingdon’s maintenance of her critical and often ironizing perspective keeps Ascension from tipping into polemic.
The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility.
In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul.
The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection at its center.
The film’s concession to the fungible nature of presented reality comes across not as indecisive but courageous.