Greenfield discusses how the film relates to her body of work and the warnings Americans ought to heed from it.
In the end, it can’t help but sentimentalize the better angels that supposedly reside in the land of liberty’s flawed human fabric.
We’ve compiled the best feature-length adaptations of King’s work, excluding the mostly mediocre TV adaptations.
There’s a lack of concreteness about the story and characters that render its reiteration of Christmas lessons utterly toothless.
In the film, the Battle of Midway suggests something out of a photorealistic animated film.
Sergio Pablos’s film is essentially a metaphor for its own unique and refreshing mode of expression.
If only the film made more of the curious tension between Timothée Chalamet’s Henry and Robert Pattinson’s dauphin.
The film too often suggests an Under Siege that’s been pointlessly larded with critters from Jumanji.
The film confirms that the ruthless knack of the wealthy and powerful to remain so is a universal impulse.
Matthew Barney re-instills nature with some of the mystic aura that modernity has robbed it of.
Like a traumatized psyche, it remains uncomfortably stuck in the past, replaying familiar events in an effort to empty them of terror.
Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.
Richter discusses how he connects his classical schooling to one of his other early passions: outer space.
Viewed charitably, its sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
Graham Swon undermines our expectations of horror-movie conceits, attempting to tap the primordial manna of oral storytelling.
The film feels rather like listening to the arsonist calmly explain why he set the fire as we continue to watch it rage.
The film image opens a space for both a reckoning with the old and the creation of the new.
The good horror film insists on the humanity that’s inextinguishable even by severe atrocity.