The film doesn’t offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.
Francis Lee’s compulsion to make Mary Anning stand in for something broader than herself keeps tripping up the film.
The series suggests a more conventional comedy, with jokes that are intended to be taken at face value.
The low-key, serene natural beauty of Beginning’s setting provides a counterpoint to the often-disturbing events of the film.
Although its crime-caper structure is worn extremely lightly, Kajillionaire represents Miranda July’s first real flirtation with genre.
The series’s ambient preoccupation with death is foregrounded more than ever before with this film’s main dramatic subplot.
The film’s insistence on keeping the stakes low throughout is probably its key strength.
The film’s use of scale to drive home the absurdity of its characters’ actions recalls Werner Herzog’s tragicomic existentialism.
Tukel’s film doesn’t live up to the promise of its fleet-footed opening.
The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.
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