T2 seeks to recreate its forbear’s blend of grime, bliss, rebellion, and cynicism in a more globalized Scotland.
Argyris Papadimitropoulos struggles to lift his material out of a downbeat mode of cringe comedy.
Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
My Life As a Zucchini circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.
The finest American teen film in at least a generation, The Edge of Seventeen arrives on home video ripe for discovery as a new cult classic.
Land of Mine’s fitful jolts of suspense can’t compensate for the screenplay’s wholly familiar trajectory.
This is a film in which Christian Grey owns a pommel horse and gives no indication that he wants to have sex on it.
The Girl on the Train arrives on Blu-ray in a serviceable, if unremarkable, packaging from Universal.
Throughout, writer-directors Lisa Robinson and Annie J. Howell’s film buckles under the weight of its symbolism.
The film is bound up in a referentiality that precludes the outpourings of emotion we come to musicals for.
The majority of the film manages to circumvent the blunt allure of vaguely jingoistic “Boston Strong” patriotism.
Pablo Larraín’s film bluntly hammers home the notion that history is framed by perception rather than reality.
Mel Gibson’s Hacksaw Ridge delivers action that’s at once gross, rousingly virtuosic, and implicitly endorsed by its messianistic hero.
The smartest thing about Kelly Fremon Craig’s teen dramedy is its measured take on its protagonist’s theatrics.
Ang Lee’s Billy Lynn’s Long Halftime Walk does astounding work animating the mind of its young soldier.
Broadly, filmmaker Keith Maitland’s treatment of the UT Tower shooting is both taut and humane.
Tate Taylor’s The Girl on the Train is a grimly deadpan lecture about messy truths and false perceptions.
By its end, Maren Ade’s Toni Erdmann is a work of laser-guided social critique and a comedy.
Kenneth Lonergan is keen to frustrate the therapeutic trajectory of Manchester by the Sea‘s premise.
The film captures our world as systematic yet miraculous, evolving toward more elaborate and resilient forms.