The film lacks the passion and the perspective to make the words and tunes truly resonate.
For all the unbridled destruction, Godzilla Minus One remains perversely light and fun.
The sense of concurrent being and non-being is key to the Michael Mann aesthetic and ethos.
Scorsese’s engrossing historical thriller is a three-hander on an epic canvas.
Eureka Review: Lisandro Alonso’s Intoxicating, Time-Hopping Reverie of Indigenous Realities
The metaphysical realm governs the non-ideal world inhabited by each of Eureka’s characters.
The Pigeon Tunnel Review: Errol Morris and John le Carré Take on a World of Contradictions
The sense of getting nowhere proves crucial to grasping le Carré in all his impish glory.
Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
Kidnapped Review: Marco Bellocchio’s Grandiose View of a 19th Century Vatican Scandal
The story is kept at a stress-inducing simmer, with occasional surges of operatic emotion.
Jacques Rivette’s Secret Defense feels in many ways like a culmination.
The film is a down-in-the-muck advert for an ultimately dewy-eyed vision of the silver screen.
For all the thrills provided by its pioneering pageantry, the film leaves you with a soul-nagging query: What price entertainment?
The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
Straining to be a YA spin on Trouble Every Day, Bones and All barely eclipses Twilight.
In Claire Denis’s film, sex is the great equalizer, or at least the act that allows people to defer taking a firm moral or ethical stance.
Field’s first film in nearly two decades can’t quite decide on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
Matrix Resurrections is the most personal, vision-driven blockbuster of its era, and Warner’s 4K disc maximizes its unorthodox beauty.
The cunning narrative arc of Lana Wachowski’s film is one of renewal in the face of rebooting.
Cary Joji Fukunaga’s film inadvertently confirms that Bond is best when the simpler, more savage pleasures prevail.
What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other.
Terence Davies’s film is a rhapsodic portrayal of a milieu in which words are wielded like weapons by people who might otherwise be pariahs.