The story of DeLorean’s life suggests Citizen Kane set in the world of cars.
Miles Joris-Peyrafitte’s film ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.
As it moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life is beside the point.
So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
The film is content to present Anton Chekhov’s ideas rather than grapple with their provocative and complex subtexts.
In the sly exchanges between the teenage protagonists and their elders, the film reflects a nation’s shifting tides.
As seen through James Lord’s eyes, the dramas and passions on display come off as melodramas and grotesqueries.
Roland Joffé’s film is largely successful in its attempt to grapple with the terrible truths of apartheid and its legacy.
Richard Levine’s film is more of an updated version than a remake of Josef von Sternberg’s The Blue Angel.
The film’s bravest choice is to expose its characters’ anxieties without offering any comprehensive solutions.
Amos Gitai makes it difficult for viewers who lack intimate knowledge of the conflict to follow the proceedings.
The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
Throughout Dan Gilroy’s film, a promising character study is smothered beneath lazy genre machinations.
Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.
The deadpan humor of Mehmet Can Mertoğlu’s film adds real tension to several uncomfortable moments.
The film is a canny portrait of a society continuing to wrestle with its ineffaceable cruelty.
It trades in the histrionic us-versus-them mentality that characterizes much of our national political discourse.
The film is an awkward mix of swashbuckling love story and polemic, painted in very broad strokes.
Simon Stone’s film too often strains for a tragic gravity that its ultimately melodramatic characters never earn.