Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s.
This film essay ultimately argues unconvincingly against art’s right to imagination.
Anderson and Cera discuss why they reject the film being classified as “deadpan.”
For better or worse, the film represents a figurative and literal change of pace for the series.
Millet’s film is unconvincing and unnaturally contorted into its shape.
Like Slow West before it, the film is a stripped-down genre exercise, for better and worse.
The raw emotion underlying The Phoenician Scheme peeks out at unexpected times.
With Mountainhead, Armstrong is sticking to a kind of satire he knows well.
Like its predecessors, the film is an often awkward mix of YA drama and R-rated gore.
Mission: Impossible is the perfect embodiment of Tom Cruise’s illegible reputation.
The remake is, yes, a nostalgia play, but the source material has been given a new spark.
The film has a white-hot nerve of pain running inside it that burns right through the screen.
The film is less a work of clear-eyed introspection than a calculated image rebrand.
The film’s simplicity serves to highlight the rich complexity of human emotion.
The film leans into the absurdism that underlies the franchise’s appetite for escalation.
Bloodlines finds frights and fun alike in a string of gory kills.
Desert of Namibia comes full circle from one stalemate to another.
Radhika Apte’s performance is the furious, beating heart of the film.
Eli Craig’s film works precisely because it plays things straight.
The film’s only resonance lies in the cynical assertions about society and human nature.
Jia discusses why he thinks the shifting nature of society has also shifted our conception of time.