The film elides politics in order to earnestly consider whether love is necessarily an act of possession.
The film is firmly grounded in the lives of low-wage workers looking for nothing more than a reliable paycheck.
Rather than a slice-of-life documentary, The Raft becomes a rather moving political parable.
Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
The film’s gritty, mundane agonies come to feel like a series of moral tests with genuinely unpredictable outcomes.
The documentary is uniquely attuned to the fickle whims of history, politics, and biographical circumstance.
Sandi Tan’s view of what the original Shirkers represented, and what her new film should be, is surprisingly expansive.
The intimacy of writer-director Mia Hansen-Løve’s Maya is as precise as its intellect is vague.
A lovely Blu-ray transfer, but those hoping for any contextual supplements about the film’s complex politics or adaptation will be left wanting.
Writer-director Andrew Haigh’s Lean on Pete exudes a quiet but self-evident sense of struggle.
RaMell Ross’s documentary is more powerful when its imagery more obliquely subverts historical totems.
Black Mother finds director Khalik Allah doubling down on his established aesthetic to bold, hypnotic ends.
The film sets an expansive discussion of the fraught status of French republicanism around a summer writing class.
Khalik Allah’s Black Mother is an aesthetic experience that’s at once raw, exalted, and singular.
The most liberating thing about Fifty Shades Freed is that it doesn’t even try to make sense of Christian Grey.
The film is superficial when it means to be elliptical and regressive in its attempts to promote tolerance.
I, Tonya’s attempts to implicate viewers is its broken shoelace, too pat and glib to be convincing.