Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
The film begins as a dryly limp satire of corporate culture and ends as cruel and unusual punishment.
The film never really pays off, at least not politically, on the promise of its opening credits sequence.
It moves so playfully and briskly you may not notice its glibness, which may have been director Daniele Luchetti’s intent.
The film’s moral and sociological concerns are hemmed in both by obstructive aesthetic self-consciousness and genre clichés.
The Other Boleyn Girl races through the events at the Tudor court like a triple-time miniseries.
The film doesn’t persuasively put convincing flesh on people caught in the immigration firestorm.
Semi-Pro is perhaps the feeblest entry in the Will Ferrell Sports Comedy canon.
Language is only one factor in the film’s negotiation of East and West.
The film is likely to be embraced by its boosters as a modern embodiment of the Italian neorealist style.
My man Wong Kar-wai’s style is ossifying faster and more depressingly than my gal Joan Crawford’s mug did back in the day.
The awe-inspiring camerawork combines gorgeous color, expansive landscapes, and a set of beautifully incorporated symbols.
This is a diverting but cool suspense puzzler whose payoff proves to be smaller and more mundane than its twisty, fluid setup.
The film is brisk, peppy, light on its feet, and tries awfully hard to be reminiscent of a fast-talking Depression-era rags-to-riches comedy.
This is a complete list of our predicted winners at the 2008 Academy Awards.
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
We begin the podcast by praising the late, great Roy Scheider.
Susan Sontag was correct when she argued against excessive interpretation of artistic work.
When scrutinizing this race, pundits rarely discuss precedent.
I don’t mean to speak for Ed here, but this wouldn’t be the first time we’ve started pulling back and rethinking the momentum of our day-by-day Oscar-winner forecasts.
Do not begrudge David Novack for flaunting his bias.