The film’s annoying glibness is neatly summarized by the line: “In life, going downhill is an uphill job.”
Low-key but engaged, the actor talked about his work and his interest in what makes people tick with unpretentious sincerity.
The film doles out a shock or hits a usually hollow emotional note every few minutes with mechanical precision.
The film highlights the potent dichotomies that made the actress luminescent both on and off screen.
It respects and plumbs the feelings of its characters while surfacing the economic, ethnic, cultural, and gender power imbalances in their relationships.
Everything in the script signals that the hero must transform himself from an abusive tyrant in the kitchen to the head of a loving and fully functional family.
The film’s episodes and attitudes register with searing immediacy while feeling true to their time period.
The seemingly unguarded Silva discusses what makes Wiig’s sense of humor so special and why it’s hard to kill a hipster.
The film is less a character study than an impressionistic portrait of a troubled artist’s internal chaos.
The film, never sensational or saccharine, is a tough but tender tribute to the creative power of maternal love.
It’s a timely reminder of the fact that a life is shifted off its axis whenever someone emigrates to a foreign country.
The film functions as a love letter to Pakistan, despite the misogynistic culture it exposes.
Frank is delightful company, as emotionally transparent and offhandedly insightful in person as he is as his art.
The 99 Homes director discusses gun-toting real estate agents and not blaming his characters for the moral dilemmas they find themselves in.
The series is funny, endearing, and studded with little truths about family life and race relations.
The villains are vivid illustrations of Jean Renoir’s observation that “The real hell of life is everyone has his reasons.”
In this picaresque documentary, the lightly comic musings of a likeable, somewhat nerdy Indian-American actor go surprisingly deep.
The film focuses on Nathan’s emotions and backstage dramas in ways that generally feel forced or inauthentic.
Carol Morley’s film all leads to a melodramatic climax that wraps up the main character’s explosive acting out in a too-neat package.
A Bourne movie turned just askew enough to be funny, Nima Nourizadeh’s American Ultra trains a bemused eye on a trope ripe for a ribbing.