The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.
Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.
As we re-enter the circuit of in-person film festivals, the peculiarities of the physical world feel just as alluring as the movies themselves.
It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.
tick, tick… BOOM! never quite resolves that tension between well-attended wake and intimate memoir.
Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness.
The First Wave successfully emphasizes how people’s emotions were whipsawed by an unprecedented crisis.
Mike Mills discusses working with Joaquin Phoenix and Gaby Hoffmann, the themes that unite his films, and more.
Though flattering through and through, the film is ironically removed from the charms of the worshipped original.
The film's violent set pieces are imaginative, but as symbolic comeuppances for the victims’ sins they can feel forced, even moralizing.
Radu Jude discusses his approach to archival material and what it’s like to make a film under pandemic-related restrictions.
The film pulls back the veil on Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
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.
Encanto does a fine job of conveying the notion that even in the best families, it can take considerable work to keep them together.
As pure visual spectacle, the film is enthralling, but its expedition into what makes climbers tick struggles to get off the ground.
Robert Greene discusses how he merged the processes of drama therapy and filmmaking, how he avoided retraumatization, and more.
C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.