In transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product.
Pixar’s superfluous but characteristically touching epilogue for its flagship franchise gets an equally fond send-off on home video.
Its depiction of the perpetual terror of living in a war zone will stick with viewers long after The Cave's doctors have left Ghouta.
Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction.
Olivier Meyrou’s ironically titled documentary weaves a tightly constructed story about success, power, and mortality.
The series never shies away from the pleasures and perversities of incipient sexuality.
The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
The second half's series of hollow visual spectacles foreground the film as a corporate product.
The documentary doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
The film is remarkable for capturing a brewing conflict between women while also celebrating their connection.
Bergman’s Trilogy of Faith is a watershed moment of transition both in the filmmaker’s career and in world cinema.
The film is inspirational only in the sense that it may inspire an uptick in Amazon searches for running gear.
Gene Stupnitsky’s film is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action.
The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
On the whole, the film is an unvarnished reflection of the ugliness of American attitudes toward assimilation.
Claudio Giovannesi’s film is more an interesting tweak of Goodfellas than an eye-opening social statement.
It seems so invested in a rehabilitation of Brittany Kaiser’s image that the filmmakers’ own motives end up being its most interesting subject.
The film’s not-strictly-linear structure and handheld camerawork come to feel like attempts at masking a certain conventionality.
Season three eschews the notion that there’s a single experience of the ‘80s that should dominate above the others.
The film taps into universal truths about the passage of time, the inevitability of loss, and how we prepare one another for it.