Snyder’s space epic plays more to his strengths, but it can’t rise above his weaknesses.
In conjunction with the release of Priscilla, we ranked Sofia Coppola’s films.
Once the film turns into a paranoid home-invasion thriller, there’s no ambiguity left to the tale.
Its images of gulags, public executions, and private beatings will not be easily forgotten.
The excitement that the film tries to generate for its main characters is disturbingly glib.
The film takes the winning formula of the games and doesn’t exactly run with it.
The film’s disparate genre elements have been cobbled together with little consideration or fuss.
Kiefer’s artistic mission is a moral reckoning with Germany’s messy political entanglements.
The film’s aura of sincere, uncomplicated Americana can be intoxicating and hard to resist.
A fascinating metacommentary courses beneath the film’s emotional storytelling surface.
The sense of concurrent being and non-being is key to the Michael Mann aesthetic and ethos.
Rustin roots itself cinematically more in fantasy than possibility.
Moreno discusses his influences, the pandemic’s effect on the film’s point of view, and more.
Throughout, Diane Nyad is defined almost exclusively by the adversity over which she triumphs.
These three films collectively suggest a miniature narrative of Browning’s evolution as a filmmaker.
These films shocked us by plumbing our deepest primordial terrors.
Scorsese’s engrossing historical thriller is a three-hander on an epic canvas.
Reggio discusses the film’s overarching philosophy, the construction of its images, and more.
Demián Rugna’s harrowing film spares no one from the cruelty of its world.
Fincher applies his calculating approach in service of a straightforwardly entertaining film.
Triet and Hüller discuss the use of language in the film, audience reactions to it, and more.