Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s.
The relative grace of the action direction only underscores how disjointed the rest of the film is.
The film lacks the passion and the perspective to make the words and tunes truly resonate.
The film doesn’t break a single mold, and it doesn’t take long to realize that’s entirely the point.
The film never dares to court our revulsion at what the survivors must do to live.
The Crime Is Mine draws on the same giddily rules-trampling pre-war mood as Chicago.
Friedel discusses how the film’s unconventional shooting style informed his performance.
Michel Franco’s film reveals itself as a prototypical yet surprisingly tender love story.
When the going gets tough, the tough double down on the audience least likely to abandon ship.
With scalpel-like precision, the film exposes the agonies of fathers, sons, and brothers.
The film is content to blandly shrug in the direction of an amorphous societal choas.
Wenders discusses how Kiefer’s work informed the craft of Anselm and more.
It’s no surprise that the milieus of our favorite films of the year invariably thrive on the fringes.
The film mostly fails to make a convincing case for Aardman’s old-school artisanal approach.
Nearly everything in Wonka is served up with an intoxicating effervescence.
This pro-shot of Waitress is most successful in its close-ups of Bareilles.
The family drama consistently pulls focus from the satire of America’s cultural caste system.
The film is consistently revealing tale about how morality drives a wedge between people.
This adaptation of Caste: The Origins of Our Discontents is equal parts unwieldy and ambitious.
The film is a celebration of people’s desire for everything that’s beautiful and fleeting in life.
For all the unbridled destruction, Godzilla Minus One remains perversely light and fun.