The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.
The film loses its satiric edge as it begins to melodramatically detail how Maurice Flitcroft inherited the mantle of folk hero.
Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.
The Innocents adopts a slasher-esque vibe that, however airlessly aestheticized, feels lurid for the sake of being lurid.
The film is at its most effective and engaging when simply capturing the vibrancy of a world onto its own.
Not only does Infinite Storm lack for a complete vision, it’s all too comfortable in settling for mawkishness.
Hany Abu-Assad’s film understands how people use personal despair to justify their extreme ideologies.
Dog smuggles a nuanced inquiry of a social issue under the guise of popular entertainment.
Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
The film’s performances evocatively attest to how people struggle to withhold the agony of their true feelings.
The title is an assurance that the most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
Joe Carnahan’s Copshop effortlessly coasts on a gnarly old-school vibe.
The film’s largely painful humor is informed by the mistaken belief that the main characters’ criminal enterprise is inherently quirky.
Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
The film’s poignancy derives from its profound understanding of its main character’s identity crisis.
Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
Writer-director Edson Oda never really puts a unique spin on the familiar story of otherworldly figures peering in on the lives of the living.