Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
Despite its overarching gloominess, That Cold Dead Look in Your Eyes still retains Onur Tukel’s flair for brazen comedy.
Lauren Hadaway’s The Novice takes the maxim “giving it 110%” to a practically literal extreme.
As a peek into the relationship between sports, media and capitalism, National Champions feels like a beginner’s playbook.
Though often abstract in its imagery, the film’s blistering commentary remains firmly rooted in our present reality.
Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
As pure visual spectacle, the film is enthralling, but its expedition into what makes climbers tick struggles to get off the ground.
Dangerous betrays the promise of its title by playing things extremely safe.
In Antlers, the big bad is never supposed to be as scary as society’s collective wrongdoing.
The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
The film feels like a missed opportunity to interrogate society’s fervent need to make pariahs out of people for their youthful mistakes.
The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony.
Belfast embodies cinema’s ability to offer a kind of escapism, but up until its climax it plays like a retreat from reality.
Dune Review: Denis Villeneuve Epic Collapses Under the Weight of Its Self-Seriousness
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
In the end, Edgar Wright isn’t particularly interested in taking aim at all that is dark in the zealotry that shapes a culture.
Pablo Larraín’s film readily conjures a paranoia-suffused atmosphere of fear for what might happen at any moment.
Michael Mohan’s preposterous fable exerts the dark pull of voyeurism itself.
The film intimately immerses us in the psyche of a woman for whom each day is a minefield of uncomfortable interactions.
As an exploration of the misogyny that drove Bundy’s crimes, Amber Sealey’s film mostly falls short of its potential.