The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.
Y2K is ultimately less than the sum of its retro-styled parts.
Though efficiently directed, the film is too concerned with keeping its main character likeable.
Adlon’s film spins the corporeal realities of pregnancy into heartfelt comic gold.
This un-nice remake takes the business end of a broken beer bottle to the soul of the original.
The film does Nicholas Winton a disservice by reducing his heroics to the stuff of facts.
Few sacred cows emerge unscathed from Hausner’s latest.
O’Daniel’s approach to narrative isn’t so much casual as it is coolly ambivalent.
The film never thinks to lean into the blatant silliness that its premise invites.
At its best, Damsel suggests a dark fantasy riff on Neil Marshall’s The Descent.
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The film exhibits the telltale signs of a series struggling to justify its existence.
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The film is stupid in a much less joyful way than Jeff Tomsic’s similarly themed Tag.
We may as well just light it up and acquiesce to the inevitable all-consuming blast.
The documentary is a public relations exercise masquerading as a substantial fashion profile.
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The soft-pedaled approach to its narrative strands gives the film the feel of an extended TV pilot.
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The film ultimately doesn’t discover very much unexplored thematic space of its own.
The effect of Diop’s documentary is haunting and powerful.
The film immerses us in the depths of the human experience without varnish or sentimentalism.
The film makes a convincing case for Torres’s belief in art as a narcissistic act of self-care.
Chernov discusses what guides his camera, Russia’s weaponization of disinformation, and more.
The film tenaciously and hauntingly casts a net woven of implications over what’s come before.