Though the film is initially hamstrung by a clash of creative visions, its class-consciousness is a welcome twist.
The Black Phone suffers from a repetitive structure, over-stuffed mythology, and under-explored ideas.
Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.
At its best, Baz Luhrmann’s Elvis taps into the frenzy that the King ignited in the world.
On the occasion of Lightyear’s release, here’s our ranking of every Pixar feature to date.
The film is a slick, soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
By resolving its story around a mano-a-mano, the film narrows its understanding of a system in which exploitation is privatized.
The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.
Official Competition is another film about filmmaking, but it escapes hermeticism by homing in on actors and acting.
The original Brian and Charles short focused entirely on its titular characters, and it’s clear that was for the best.
When the film isn’t suffocating itself with world-building, it’s wholly given over to corny fan service.
Hustle doesn’t seem to know how its characters fit into the complicated web of sports, media, and finance that defines the NBA.
Mad God offers a dense cornucopia of genre-fueled outrageousness that’s gradually united by a concern with cycles of warfare.
Lost Illusions leans heavily on voiceover narration that, for better or worse, draws attention to its novelistic mode of its storytelling.
The agelessness of David Cronenberg’s films springs from an uncommon authorial focus.
Davies discusses the autobiographical elements of Benediction, and Lowden his charge to feel every moment rather than act it.
Patricio Guzmán’s documentary leaves open the possibility of a future for Chileans that isn’t beholden to the trauma of history.
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