Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
Susan Sontag’s debut film serves as an intriguing cinematic extension of her more well-known written work.
An airport novel of a movie, Bill Condon’s The Good Liar is efficient and consumable, if a bit hollow.
Haynes’s film intermittently hits upon a few original ways of representing its ripped-from-the-headlines mandate.
All the feminist virtue-signaling in the world can’t conceal the film’s creative conservatism.
Greenfield discusses how the film relates to her body of work and the warnings Americans ought to heed from it.
Brett Story’s documentary represents a city ground down by inequality and division.
It focuses equally on moments of shared connection and incidental loss until the two feel indistinguishable.
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.