The first episode since “Time Zones” where the narrative constantly felt busy with story rather than depending on symbolic acts and pauses.
Louie is akin to Seinfeld in its view of a privileged life constantly swayed by the particulars of Manhattan geography.
Pawel Pawlikowski shows great empathy toward the idea of illusions as a way of attaining emotional stability in even the most brutal terrain.
Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.
Model Shop served as a stern reaffirmation that you can’t go home again, and much of “Field Trip” revolves around an inability to notice that resilient adage.
The story wisely focuses on the cast’s worn-in and jazzy repartee and expresses a perfectly modulated sense of self-awareness.
Jon Favreau’s film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
Land Ho! is at once akin to and acts as an insightful corrective to such 60-is-the-new-12 comedies as Last Vegas.
Showrunner Matthew Weiner and company crafted an episode riddled with allusions to business as a love affair.
Godard’s lively screed against cinema’s power to recreate time gets a solid, attentive A/V transfer.
The purgatorial mood that Matthew Weiner and his crew conjure here sets the stage for Don and company’s final season-long cocktail hour.
This release awesomely showcases Basil Deardan’s widescreen, war-torn vistas.
The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
Cuarón’s visually dazzling tale of survival in space gets the royal treatment from Warner.
Game of Thrones finally feels liberated from its own extensive mythology and now moves with thrilling fury and purpose.
That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
There’s no sense of visual artifice to match the ludicrous pitch of the script, and subsequently, the film comes off as awkward and uncertain.
The chasm that exists between being a working actress and being a household name is central to the drama.
Roberto Minervini has created a moving portrait of feminism born out of hard work and intuitiveness.
For the most part, it’s a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.