Andrew Haigh’s haunting 45 Years receives a flawless transfer and a helpful lot of production-oriented supplements from the Criterion Collection.
This socially observant chess drama looks spectacular on Disney’s Blu-ray release, which flawlessly retains the film’s rich and integral color palette.
Lion’s faults of structure and pacing might limit its power, but in stretches it still roars.
As gentle and wise as ever, Rectify thus turns to humankind’s most fundamental questions.
It largely fails to animate Christine Chubbuck’s inner turmoil, focusing instead on broad, blunt externalities.
Nate Parker strains to control the strange and stirring complications of his subject’s visionary apocalypticism.
Mira Nair’s Queen of Katwe approaches the sports movie’s conventions with a light, funk-inflected touch.
The film’s understanding of the brittleness that begets the “traditions” of frat culture is altogether shallow.
Jeff Feuerzeig isn’t skeptical enough of Laura Albert’s explanations and rationalizations.
It recombines elements of the emigrant saga and the coming-of-age story into a searching, fresh-faced portrait.
Director Ira Sachs transforms the smallest blip on life’s radar, a childhood friendship, into a momentous occasion.
Exquisitely nostalgic, the movie is as comfortable, and as complicated, as a reunion with an old friend.
There’s no sustained effort to answer the first question any editor worth his or her salt would ask: So what?
The series proves once again that action need not be explosive to be effective.
The real danger in the world of The Americans is that one fails to notice they’re being crushed.
The episode frames its constituent parts as opposing forces, but in the end each element contributes to a coherent, if half-hidden, whole.
Having been told so many lies, Paige has now become the teller, her parents’ child after all.
The episode reexamines the distinctions we draw between offense and defense, between the necessary evil and the greater good.
The notion that one can simply pick up the pieces and move on is the season’s central illusion.
The film’s clichés ultimately contain both too little conviction and too little complication.