Simon Curtis’s film is often bathetic, but its most glaring faults lie in its extreme structural imbalance.
Peter Landesman’s film is a kind of hagiography, and it leans toward whitewashing its subject’s legacy.
Director David Gordon Green’s Stronger offers up an unassuming portrait of wounded love and solitude.
Though the film’s overarching narrative travels a well-tread road, it strikes a few potent grace notes along the way.
It’s impossible to take it seriously as anything other than an Abercrombie & Fitch ad posing as a political thriller.
Edoardo de Angelis’s coming-of-age portrait is poignant when fixated on the intricacies of a complicated sisterhood.
Despite its interesting macro approach compared to other films of its ilk, it’s far less successful on a micro level.
It was clearly conceived by men who have no interest in approaching female friendships with any degree of complexity, curiosity, or respect.
The film is at its best when it yokes its moody sense of atmosphere to the aimlessness of the young characters.
Bob Roberts is a shrewdly drawn portrait of the unsettling intersection of entertainment, business, and politics.
Mark Gill’s film is content to indulge young Steven Patrick Morrissey’s basest, self-flagellating impulses.
Ultimately, the film most disappoints for its unwillingness to consistently poke fun of its inherent absurdity.
By the end, Toa Fraser’s film tellingly leaves the root causes of the militant group’s malcontent entirely unexplored.
It remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.
The film’s emotional resonance feels hollow, watered down by an overstuffed plot that bites off more than it can chew.
Kidnap is an efficient vehicle for the delivery of some lean action that’s weakened by a scarcely whip-smart script.
The film is lazily content to simply put its female characters through the potty-mouthed, gross-out comedy ringer.
An Inconvenient Sequel is usually transparent in its unbridled and excessive adulation of Al Gore.
Its shameful exploitation of Africans doesn’t stop with the privileging of the love affair between two white doctors.
The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.