The film translates the often difficult realities of a specific kind of marginalized love into a story with broad appeal.
The film is an uncanny reflection of the jingoism that Hollywood has been wrapping in glossy spectacle and exporting for decades.
I Am Greta isn’t so much an activist documentary as it is one about an activist.
Freaky doesn’t reach for any arch commentary beyond the suggestion that, hey, Freaky Friday the 13th is a pretty funny idea.
The film slides seamlessly between empathizing with its clueless bros and making them objects of unsparing derision.
It’s difficult to shake that the film finishes saying what it has to say long before it staggers to the end.
The film suggests a gene splice of Jennifer Kent’s The Babadook and Mike Flanagan’s Before I Wake.
The show’s third season plays it ideologically and conceptually safe.
The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
The film excels at capturing the emotional substance of what we think we remember about our pasts.
Radha Blank’s film contemplates a woman’s 40th year as a no-woman’s land.
The film reminds us that behind the numbers and procedures of a court case are actual lives existing in actual, human time.
The film draws us through its play toward darker, too-seldom-considered sides of human and doggy nature.
The film’s experiential approach emphasizes that the fragments of life it captures aren’t impersonal events on a timeline.
The full four-part, 220-minute cut of the film receives a stunning transfer and a small but illuminating assortment of extras.
Maïmouna Doucouré has a remarkable grasp of the irrationality and volatility of middle-school social dynamics.
The Mole Agent is so meticulously stylized and paced that it feels like fiction.
The quality and scope of this set makes it one of the most impressive home-video releases of all time.
The series draws one of the most nuanced portraits of sexual assault ever depicted on TV.
Still the most urgent and probably the most accessible film of the New German Cinema.