The film is suitably direct, clear-eyed, and exhaustive in documenting the massive impacts that gerrymandering has.
The fallout of the main characters’ actions feels perfunctory and tossed-off in the rush to an ending.
O’Connor discusses the challenge of rendering a performance with a smaller delta between actor and character
David France’s most remarkable accomplishment emerges from an aesthetic commitment of a very particular kind.
The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
Its portrait of Hong Kong bears more than a passing resemblance to Wong Kar-wai and Christopher Doyle’s early work.
So many grandiose tactics portend a grander revelation than the film’s otherwise low-key three-hander delivers.
The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
The film allows that we are complicit in privilege for our fascination and envy.
Upon the release of Pixar’s Onward, we’re counting down the animation studio’s 22 films, from worst to best.
Driven by the potency of its social intentions, Eliza Hittman’s film is so authentically felt that it becomes hyper-real.
It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
Tsai Ming-liang seems to say that, even in a world rigged against queerness, certain things can’t still be shared.
The film questions the fixed nature of human behavior in a world whose borders are constantly shifting.
The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating.
Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
Porumboiu discusses the links between his latest and Police, Adjective, the so-called “Romanian New Wave,” and more.
This lively adaptation plays up the novel’s more farcical elements, granting it a snappy, rhythmic pace.
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