The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef’s uniquely obsessive work habits.
Adrift is a simple, acutely observed love story that also happens to be a rousingly stripped-down tale of survival.
Bart Layton’s American Animals is a heist film at heart, albeit one that hews closely to the historical record.
Anthony Bryne’s high-flown style only serves to highlight the film’s icky way of exploiting real-world tragedy for kicks.
It’s said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman’s Book Club.
James McTeigue’s Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.
It captures the pictorial beauty of old-fashioned farm life, but it doesn’t romanticize hard labor for its own sake.
The film rarely presents a clear analysis of Ruth Bader Ginsburg’s victories, reducing her work to empty slogans.
It arrives on home video ready for canonization as a new family-friendly classic, and this Blu-ray transfer immaculately reflects its inviting warmth.
Abby Kohn and Marc Silverstein’s I Feel Pretty never really taps into the inherent absurdity of its premise.
Given the sheer amount of comic material in Super Troopers 2, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
It flattens Maryla’s personal story into hazy generalities about tolerance and the value of remembrance.
Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
Director Kay Cannon approaches the randiness of her female characters with unvarnished frankness.
The film is a dazzling collage of styles and approaches in which every scene feels different from the one before.
Lynn Shelton’s film firmly resists supplying its main characters with easy, you-can-have-it-all answers.
Arthur Conan Doyle’s legendary characters feel as if they’ve been air-dropped into a universe where they don’t belong.
Like the play, it makes something so viable, tense, and compelling out of the anxious boredom of trench warfare.
The Strangers: Prey at Night is content to deliver a few jumpy thrills before slinking away into the night like one of its murderous marauders.
Thoroughbreds is a film about the disastrous perils of too little empathy, but it never evinces much of its own.