Sofia Coppola is faithful to the trajectory of Thomas Cullinan’s original story while reorienting our allegiances.
Mohammad Rasoulof and Abbas Kiarostami’s films ask fundamental questions without proffering easy answers.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
Happy End is an empathetic portrait of personal grief as it’s experienced in a desensitized first-world society.
The film feels lived-in despite its glaringly mannered dialogue and charmingly eccentric characterizations.
After last week’s thematically spastic episode, it’s refreshing to see that a simple and direct, albeit unambitious, theme unites the various plot strands here.
David Benioff and D.B. Weiss try too hard to introduce an elemental aspect to Game of Thrones’s focus on the nature of power.
The second season of Game of Thrones really hit its stride tonight with “Garden of Bones.”
With tonight’s episode, the writers of Game of Thrones continue the trend of organizing each episode of season two around a different theme.
After last week’s remarkable season premiere of Game of Thrones, “The Night Lands” is a bit of a letdown.
The most exciting thing about the season-two premiere of Game of Thrones is its refreshing sense of focus.
It’s refreshing to see The Sessions unostentatiously treat intercourse as a normal need that most people counterintuitively associate with taboos.
It takes a little time to get used to the sprawling scope and the blocky dialogue of Red Hook Summer.
Filly Brown plays out like a caricature of every stereotypical Sundance drama about plucky young heroines who overcome great adversity.
Cahill and co-writer Brit Marling struggle in vain to foreground the thematic significance of their film’s novel main conceit.
Time in writer-director Evan Glodell’s Bellflower is a linear path to a pitilessly bleak emotional abyss.