Coco receives an expectedly resplendent home-video treatment, sporting a demo-ready A/V transfer befitting the film’s visual and musical splendor.
Icy absurdism and sorrowful ironies abound throughout Foxtrot, whose laughs stick in the throat like silent screams.
Mark Perez’s screenplay maintains just enough plausibility to prevent the film from veering into sheer absurdity.
Nick Park’s talents often serve only to highlight the fundamental lack of inspiration at Early Man’s core.
Sophie Brooks seemingly fails to understand what made Annie Hall so appealing: its rich, multi-faceted characterizations.
Will Gluck’s Peter Rabbit is mercifully light on the soppy sentimentality that often weighs down most kiddie flicks.
Whitney Cummings’s film never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh.
Bilal: A New Breed of Hero’s animation feels like the result of the cold calculus of an algorithm.
Dakota Fanning’s Wendy is less a truly thought-through character than a compendium of quirks.
Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
12 Strong inevitably proceeds as a jaunty imperial adventure through the wilds of northern Afghanistan.
Sutherland and Mirren are likeable here, but they’re stuck in little more than an upbeat wish-fulfillment fantasy.
Paul King’s Paddington 2 profoundly believes in the harmonizing power of warmth, politeness, and the absurd.
Daniela Thomas’s presentation of her story is so impassive, so doggedly unemphatic, that it makes little impact.
The film is a phantasmagoria of impressionistic horror, at once despairing, beautiful, haunting, and surreal.
Writer-director Bryan Buckley’s film is ultimately more interested in the journalist than his story.
The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
Throughout, everything blurs together into a frenzy of outrageous emotions and hysterical behavior.
The film brings Pixar’s emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
Director Timothy Reckart’s The Star turns the greatest story ever told into just another kids’ movie.