The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman.
In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
Brie Larson’s directorial debut is nothing so much as a series of quirks.
Writer-director Yeo Siew Hua suggests that becoming another person is as easy as dreaming it.
The film is a cynical critique of American foreign policy wrapped up in an uncluttered narrative that thrives on pulpy thrills.
The title Weightless is an apt description for this stylish but emotionally inert film.
This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
One may wish that as the storyline pushes forward that it succumbed less to portentous melodrama.
Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
The austere visual style of the film is but a veneer over the deceptively radical treatment of the musical biopic.
The film emphasizes, for better and worse, the crushing monotony of living in insolated parts of the Deep South.
With a humanistic touch, Peter Livolsi depicts people who never feel that they’re better than anyone else by virtue of their beliefs.
The film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
After a certain point, Olivia Newman’s film treats the womanhood of its main character as an afterthought.
Cédric Klapisch unsubtly correlates wine’s complex arrangement of flavors to the complexity of memory itself.
The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
The film displays a sprightly tone and blissful sense of liberation in charting the exploits of characters seeking to live by their own feminine-centric rules.
The film’s animation is abundant in detailed backgrounds that make the characters stand out like placards.
Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
The film’s hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas’s life, is refreshingly unconventional.