Favreau draws heavily on his film’s animated predecessor for plot, characterizations, and more, but doesn’t know how to fit these familiar elements into his own coherent vision.
One gets the sense that power and meaning have been accumulated at a pace appropriately representative of Kirsten Johnson’s own experiences.
The documentary is a loud condemnation of what Chinese civilization has wrought, and what it’s irrevocably lost.
This year’s True/False Film Fest bursted with new possibilities for the documentary form.
The festival, which runs from March 3rd to 6th, already seems to have the country’s most important social issue on its agenda.
For both its earnest, uninhibited sense of play and impeccable pop, Painting With is a uniquely affecting album.
Williams’s location-specific concept album serves as a reminder that her best songs need not inhabit one specific place, geographically or emotionally.
The film evenly distributes its action in quick bursts of fluidly animated fight choreography.
Donnie Yen’s performance is so good that it’s a shame Wilson Yip’s films have never strived to be more than briskly entertaining hagiography.
The album has its share of big moments, but it’s mostly made up of small, claustrophobic gestures of prickly emotional uncertainty.
The film exists less as a meaningful extension of its world than as a fan-service deployment device.
Chi-Raq is a Spike Lee joint in the urgent sociopolitical register of Radio Raheem’s boombox.
Throughout, director Justin Kurzel’s stagey pretensions clash with each of his aesthetic choices.
Shortly after the surprise brass-and-vocalese bridge of the Ed Sheeran co-write “Love Yourself,” Purpose starts rehashing its distinct set of formulas.
Sometimes the maximalist ambitions of Claire Boucher’s Art Angels overshoot the needs of pop.
OMI still feels a certain responsibility to, or at least vested interest in, the music scene that fostered his talents.
For a while, Honeymoon’s lack of pretense translates as a banner strength.
Pageant Material is a laidback, if melodically impeccable, set that makes subtle strides in developing Kacey Musgraves’s sound.
Everything Is 4 recalibrates a bit, updating Derulo’s sound to current trends with 11 precision-tooled three-minute-and-change pop songs.
I Can’t Imagine opts for uncharacteristically hazy sprawl over Shelby Lynne’s usual tight focus.