In the end, the film suffers from the same issue as its moody androids: enervation borne out of repetition.
It all has the makings of a game of Clue, but the mysteries here are linguistic.
The thrill of the film’s craftsmanship is inseparable from its main character’s abuse.
Writer-director Jason Lei Howden’s humor might have been tolerable if his film was at least reasonably imaginative.
The film is designed so that we feel as starved for rudimentary human emotion as its main character.
Wendy veers awkwardly and aimlessly between tragedy and jubilance, never accruing any lasting emotional impact.
Garrel illustrates the absurdity behind the myth of the complementary couple without humor or wit.
The film takes occasional stabs at comic grotesquerie, but it’s brought back to earth by an insistent docudrama seriousness.
It has almost enough genuine charm and heart to compensate for the moments that feel forced.
What distinguishes the film from much of its ilk is Albert Shin’s ongoing taste for peculiar and unsettling details.
While Onward begins as a story of bereavement, it soon turns to celebrating the payoffs of positive thinking.
It’s to the immense credit of these two great actors that Ordinary Love is so inspiring.
The film’s avoidance of cruel Gold Rush realities is more than made up for by its spirited kineticism.
Robertson’s sadness was more fulsomely evoked by Martin Scorsese in The Last Waltz.
It suggests that a war’s horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.
It’s within the murky realm of self-doubt and spiritual anxiety that it’s at its most audacious and compelling.
The film is at its best when it’s focused on the euphoria and tribulations of its central couple's love affair.
Today, A24 dropped the trailer for haunting mustache enthusiast David Lowery's latest.
Tukel’s film doesn’t live up to the promise of its fleet-footed opening.
Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.