Lucy Walker’s The Crash Reel is an intense, morally unresolved sports documentary.
“The Sacred Taking” finds the show’s variables nearly, but not quite, cohering into a grand narrative arc.
Swanberg continues to grow confidently into his status as one of our finest poets of not-quite-youthful confusion.
The film’s method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
A confident and exciting genre film, and that’s certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
Nashville is one of the most revealing portraits of America ever made, and it’s never looked or sounded this good.
It’s driven by Frank Darabont’s desire to lavish a generous production budget on recreating his favorite bits from better, more vital crime films.
Fans of this weird, thematically incoherent cult oddity might be a little disappointed by the paucity of extras.
Straight males may have found themselves in the position of actively envying two dead men while watching this week’s episode.
It displays a scattershot sense of narrative abandon that suggests a child playing in the backyard after a day of learning about Greek mythology.
A key restoration of an essential film that warrants the potential double-dip.
The film is a return to form for its director, and the first truly satisfying vehicle for its star.
In this week’s episode of Coven, an elegantly interlocking series of plot turns suggests a major character’s undoing.
The film succumbs to its own self-delusions of moral/political grandeur.
Creators Ryan Murphy and Brad Falchuk suffer few indulgences of sentimentality.
The film is unavoidably slight, but there’s a certain pleasure in watching talented people wax passionate about a common source of inspiration.
The film never recovers from director Kevin Macdonald’s indifferent staging of a pivotal moment.
This week’s episode of Coven is ideally timed to remind us that Halloween was once a dangerous pagan event.
Yes, another Jordan vampire movie, but a film this beautiful shouldn’t be taken for granted.
Review: Guillermo del Toro’s Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions
Throughout, Del Toro’s book obliterates repugnant notions of “high art” and “low art.”