Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
It inelegantly infuses a standard revenge western with the gravitas of a war veteran’s coming-home odyssey.
Director David Hackl often shoots his bear in fashions that accent its lumbering, powerful grace, even during its death rattle.
A Warrior’s Heart doesn’t just ooze sexism by the way it demands a perfect emulation of hetero-masculinity from its characters.
Cowboys & Aliens mashes up genres with a staunch dedication to getting everything wrong.
The debate over the evolution of the movies’ depiction of native peoples isn’t always on the mark.
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements is almost unrivaled.
The stink of Crash hovers over Flags of Our Fathers.
Clint Eastwood’s creaky history-class lecture Flags of Our Fathers makes the nature of heroism its primary point of concern.
Like a ghost, Bob Clark’s film is impossible to pin down.
The sophisticated collection of features should appeal to WWII even if John Woo fanatics decide to pass.
Saving Private Ryan and Black Hawk Down set the unfortunate standard by which Hollywood shoots and maims soldiers for public consumption.