It doesn’t suggest documentary footage found in the woods so much as a haunted-house version of Hardcore Henry.
Writer-director Daniela Amavia fails to link the lives of her characters to any deeper sense of meaning.
The film is confused in conception, dreary in execution, and completely lacking in forward momentum.
The film is at its sharpest when Chris Kelly hands scenes over to his main character’s family and friends.
Its bloated action-comedy machinery prevents any real chemistry from forming between Chan and Knoxville.
Truth or Dare is less of a concert film than an elaborately constructed exegesis on pop mythmaking.
Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
The film is peppered with interesting true-life details, but these are overwhelmed by frantic comedic sequences.
Writer-director Steven Caple Jr.’s social-realist tendencies run up against some unconvincing genre elements.
The film is premised on a radical act that it buries beneath a grueling avalanche of quirk.
Performed live on July 12 at the Classical Revival opera house, his music took on a strikingly anthemic quality.
Director Joe Berlinger essentially allows his subject, Tony Robbins, to hijack the documentary for his own end.
Each character bears the scars of previous generations, but each one makes his or her own path.
Humanity may be a sordid, violent, alienated lot, enslaved by economic and technological systems it no longer controls, but Zero K is a disarmingly humanist work.
The novel’s frequent detours into Sri Lanka’s past aren’t merely historical window dressing.
The Big Green Tent isn’t a difficult novel, but its density invites an obsessiveness that’s often difficult to muster in this media-saturated age.
All paths lead to subjugation, to the forfeit of individual identity, to the death of the self.
After reading the book, the film remains a challenge: narratively, stylistically, temperamentally.