It hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot.
The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen.
It’s incisive in its condemnation of the oppression innate in the social structure of Brooklyn’s Hasidic communities.
A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
Throughout the film, we come to understand the camera’s distance from its subjects as an act of respect.
How strange and apt that the year’s most sensorially and ideologically dense film is a comedy of microaggressions.
Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others.
The film is a riot of religious symbolism, of-the-moment socio-political valences, and references that attempts to unite themes from nearly all of Darren Aronofsky’s work.
The film sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.
Though some of Spettacolo’s tension is superficial, its latent anxieties are myriad and profoundly resonant.
It’s hard to tell who’s being lampooned and who’s being treated with sincerity at any given point.
Steven Soderbergh’s Logan Lucky is an ensemble comedy that’s simultaneously effervescent and cerebral.
The film is indebted to Alexander Payne’s social comedies, which dwell in the backwash of the American dream.
Good Time is scrupulously designed to address how the urban poor interact and negotiate with city services.
The film succumbs to its main character’s didacticism: His perceived humility masks a smug, Manichean worldview.
The director’s intimate relationships with the RBSS’s heroic journalists help to sustain the film’s undeniable urgency.
Director Tim Smit’s first-person sci-fi caper looks and feels like something Neil Blomkamp might dream up.
How is it that a film so beholden to dull, unnecessary exposition can be so eager to avoid explaining itself?
Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing.
David Leveaux’s film cannily incorporates elements of spycraft and sheer trash into a familiar formula.