In the end, the film’s perpetuation of the franchise’s endorsement of police brutality comes back to bite it.
Well hi, everybody, it’s nice to see you.
The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.
Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.
Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho.
VHYes settles much too comfortably into the well-trodden footsteps of other works.
We were so sure that last year’s Oscars would be the last Oscars. Okay, not really.
Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
The filmmaker discusses the public reaction of the film, bringing it to Emmanuel Macron, and more.
Nikolaus Geyrhalter doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
The film doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
Gentrified London is akin to Guy Ritchie’s filmmaking: a characterless mockery of its former glories.
Joel Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
The film serves as both caustic update to Victor Hugo’s monolithic novel and cautionary tale about the future.
By the end, it’s as if a good doctor’s god complex has been taken up by the film itself.
Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
The film’s skittishness is particularly maddening considering that Allen has nothing to artistically prove.
The film stands to further boost the profile of the Hudson Valley as a destination for filmmakers.
Our top films of the decade offer insights and riches that are inexhaustible.
In the end, the film is unable to bridge the gap between the emotions it elicits and the messages it imparts.