Matsunaga Daishi’s Egoist is a love duet full of intimate gestures.
The comparison to Christopher Nolan’s breakout doesn’t do Adam Cooper’s film any favors.
The film does Nicholas Winton a disservice by reducing his heroics to the stuff of facts.
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The soft-pedaled approach to its narrative strands gives the film the feel of an extended TV pilot.
The film lucidly shows how a coming of age can be thrust upon a person against their will.
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The film is a stunning screed against colonial racism and state-sanctioned violence.
The film is less focused on the freedom of catharsis than on the messiness of self-actualization.
There’s an elegiac beauty to the film’s pool scenes, but everything that surrounds them is leaden.
Kiefer’s artistic mission is a moral reckoning with Germany’s messy political entanglements.
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Many of the ghosts and whispers of the past were on display at the festival’s 48th edition.
The film asks us to sit on a knife’s edge, where the threat of violence is constant.
Kenneth Branagh’s third Agatha Christie adaptation is a dusty, dry, and sluggish affair.
The film never really leans into the farcical possibilities of its premise.
The film assumes that watching someone trudge across sweeps of snow is inherently cathartic.
The film is a liberal fantasy stuck in the 2016 vision of the future from which it sprung.
The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
Cobweb isn’t shy about drawing upon the iconography of many a horror film before it.
The film is at once a journey of self-actualization and a testament to female solidarity.
The film tries quite hard to keep its story in the placid realm of the feel-good.
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Despite Earth Mama’s bleak subject matter, it exudes a beatific warmth.