Given its hero’s imperviousness, the film’s chaotically edited action sequences tend to be devoid of suspense.
Its portrait of Hong Kong bears more than a passing resemblance to Wong Kar-wai and Christopher Doyle’s early work.
It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
This lively adaptation plays up the novel’s more farcical elements, granting it a snappy, rhythmic pace.
It has almost enough genuine charm and heart to compensate for the moments that feel forced.
It suggests that a war’s horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.
The filmmaker discusses her elliptical approach to filmmaking and how she compels our active spectatorship.
The film, as Arrow’s excellent assemblage of features proves, is rewarded by post-viewing conversation.
Admirably, Yaron Zilberman’s film focuses on the cyclical nature of violence in a decades-old conflict.
The film remains a hypnotic yet foreboding look at how the proliferation of images and media technology affect the mind.
Criterion’s release of Beineix’s epic erotic drama recovers the sumptuousness and precision of its images.
Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
There isn’t anything in the bleeding-heart positions espoused by Jorge Bergoglio that complicates Pope Francis’s public persona.
Its performatively extreme imagery thinly masks a rather banal view of male subjectivity and inner conflict.
Think Michael Mann’s Heat but in East Africa and with real-world stakes.
Criterion’s release captures the icy-hot intensity and meticulous beauty of Pawlikowski’s shamelessly grandiose romance.
Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
An airport novel of a movie, Bill Condon’s The Good Liar is efficient and consumable, if a bit hollow.
This stylish and visually intelligent thriller has been preserved beautifully by Kino Lorber.
There’s a lack of concreteness about the story and characters that render its reiteration of Christmas lessons utterly toothless.