The film is more invested in making its characters likable rather than risking our sympathies.
There’s a tension here between mechanical, collective labor and individualist expression.
Close Your Eyes interprets the unknown as a life already lived, slowly dissolving into memory.
Throughout, Cage flexes his singular acting muscles in increasingly hilarious directions.
Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
The film builds to the sort of incredible final bout that makes your hairs stand up.
Justine Triet’s film has more on its mind than the simple question of innocence or guilt.
The film is a gentle evocation of contemporary Japanese life in its pleasures and frustrations.
The film insists that we come to terms with it rather than straightforwardly enjoy it.
Kenneth Branagh’s third Agatha Christie adaptation is a dusty, dry, and sluggish affair.
Kaurismäki’s latest is deeply alert to the sensory pleasures of the world.
The film deploys genre cues only to sidestep their expected payoffs and moral resolutions.
With his latest, Jude continues following intuition and putting ideas into immediate action.
The film only pretends to rail against the scourge of unchecked capitalism.
The story is kept at a stress-inducing simmer, with occasional surges of operatic emotion.
The film somehow feels tight, open and leisurely, and cloaked in dread all at once.
Most of the film’s scenes feel planted, as if Wenders is introducing exhibits in a case.