Natalie Portman plays the older Celeste like a car revving in first gear, deafeningly loud but scarcely moving.
Michael Moore's circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump.
Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
The rapport between Richard E. Grant and Melissa McCarthy offers deeper pleasures than the main plot of the film.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
There’s something missing here, a spark of zeal and immediacy to the depiction of anti-democratic atrocity.
By treating its main character as exceptional, the film validates the punitive system it seeks to criticize.
Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
Director Shane Black’s streak of puckish nihilism is an attitude that makes him a perfect for this franchise.
Jonathan and Josh Baker’s Kin resembles a TV pilot that’s been released into theaters as a standalone property.
Gutiérrez Alea’s complex, daring rumination on the Cuban revolution is one of the finest films about living within a revolutionary realm.
Happy as Lazzaro is one of the sharper, and funnier, recent films to reckon with the injustices of class disparities.
This high-def upgrade calls new attention to just how much the film’s florid images match the beauty of Samson Raphaelson’s script.
It evinces a complex understanding of spirituality and faith that would inform all of Tarkovsky’s subsequent films.
Mile 22’s action passes by as jumbled images from various vantage points, all edited together with no rhyme or reason.
Alpha’s simplistic interactions between man and canine don’t exactly convey the difficulties of a wild animal overcoming millennia of instinct.
Long a hidden gem in Carpenter’s filmography, the film receives a strong A/V upgrade from Shout! Factory.
The film shifts from a coherent vision of generational terror into a grab bag of lazily compiled genre tropes.
The Mamma Mia! sequel’s flaws are overridden by infectious moments that, to take a cue from ABBA, you couldn’t escape if you wanted to.
One of the greatest fantasy films of the 1980s receives a beautiful transfer from Arrow Video, making it ripe for rediscovery.