Carol Morley’s film wants to blow our minds, but it succeeds only at rousing our boredom.
The film genuinely grapples with the question of how to live one’s life when death is always potentially just around the corner.
Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
The film is a penetrating an indictment of the bureaucratic obstacles placed in front of refugees.
This edition boasts a strong collection of extras, but that can’t make up for the 4K scan’s imperfections.
If, in the end, the film’s narrative fails to cohere, the journey getting there is at least enjoyably swift-paced.
Sergei Bondarchuk often seems to be attempting to synthesize the entire history of epic historical filmmaking into a single work.
If the music is beside the point, why are we supposed to care about the people who made it?
Stephen McCallum’s relentlessly grim drama is completely lacking in wit and genre thrills.
If the film ultimately seems to question Carol’s courage, there’s at least no doubt about Ida Lupino’s own.
Only in the bittersweet final passages does Franz Osten achieve a few moments of genuinely moving melodrama.
As a filmmaker, Julien Landais is trying to run before he’s even figured out how to walk.
There’s an ever-present sense of rage and despair burbling beneath the placid surface of Barbet Schroeder’s film.
Ingmar Bergman’s Cinema may be exhaustive, but with all the indelible beauty it contains, it’s never exhausting.
Kaku Arakawa’s documentary is a candid snapshot of a great artist as an old man.
Criterion’s impeccable 4K restoration ensures that this is the definitive home-video experience of Billy Wilder’s classic comedy.
Luke Fowler allows us to access some of the intimate details of Bartlett’s life in intriguingly indirect ways.
Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
The film isn’t really concerned with Lara’s journey to find peace and balance, as its interested only in her downward spiral of crisis.
The Grinch‘s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.