Identifying Features is as much about the act of seeing and observing as it is about not seeing.
No Man’s Land mostly suggests a performance of allyship on the filmmakers’ part.
This tongue-in-cheek gorefest gives the impression of an only semi-coherent joke on the audience.
Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
The film’s arguments against endless war end up seeming more than a bit disingenuous.
The film is at its most moving when it lingers on the face of children who are impotent to return to the world they used to call home.
Kevin Macdonald’s film never captures the spectrum of a life lived in unimaginable extremis.
The film’s ultimate insight into predator-prey relationships is paltry compared to its occasionally effective build-up.
The film’s manic blend of gore and relentlessly cheeky comedy eventually leads to diminished returns.
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The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.
Throughout, Lynne Sachs undercuts the image of the past as simpler or more stable than the present.
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These films show us utopias, dystopias, distant planets, and our own Earth destroyed.
Katrine Philp’s documentary boldly argues for a clear-eyed frankness in talking to bereaved children about loss.
Ramin Bahrani’s film is a turbulent and snarkily self-aware melodrama about breathless social climbing.
Close discusses coming to understand Mamaw as a person, her views of politics in film, and more.
Sorkin discusses what a present-day Abbie Hoffman would look like, Spielberg’s patronage, and more.