Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
A Haunted House not only panders to, but encourages the same moviemaking impulses it’s supposedly satirizing.
Koi No Yokan further solidifies Deftones’ status as far and away the most long-lasting and consistent act of the maligned sub-genre from which they came.
Free Men ultimately belongs firmly in the well-intentioned-misfire category, a film of modest ambition and a short grasp.
To question where things went wrong feels somehow strange, as the project seems to have been ill-conceived from the very start.
If The Lady never quite blossoms in the way one might hope, it’s largely because its subject has never been allowed to either.
Drive embraces and even takes comfort in the misery wrought by its characters' dealings with one another.