Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
The film’s tableaux are impressionistic in ways that recall Claude Monet’s plein air landscapes.
The film is a ghostly travelogue through a land ravaged by war and natural disaster.
The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
The film is perhaps Joachim Trier’s most mature and emotionally complex work to date.
The film recalls the themes of Rebecca and the temporal displacements of Alain Resnais’s work.
The overriding suspense here is largely created by watching truth become negotiable.
The film is mostly memorable for its depiction of a city gradually hollowing itself out.
The film is efficiently orchestrated, but its storytelling is remarkably leaden and incoherent.
With the R-rated canine comedy Fixed, Genndy Tartakovsky is off the leash.
For every moment of electrifying horror, the film cleanses the palette with comic relief.
An Officer and a Spy has the appropriate cynicism to end on a note of ambivalence.
As a director and co-writer, Scott Thomas’s instincts lean toward the literal.
The film is an emotional depiction of the gaping holes left by Buckley’s untimely death.
The tone of the film is generally as light and zany as its B-movie title suggests.
Julian Glander’s film is driven less by plot than by the memorable atmosphere it summons.
Nick Rowland’s film doesn’t seem to have faith in the story the novel tells.
The Police Squad is back, and under new, extremely capable management.
Shanks discusses Together’s bodily contortions and what the ending means to him.
The film sees its body horror as just another wrinkle in the complexities of loving someone else.