The film ultimately doesn’t discover very much unexplored thematic space of its own.
Hustle doesn’t seem to know how its characters fit into the complicated web of sports, media, and finance that defines the NBA.
Criterion’s perfect 4K A/V transfer and loaded extras give Uncut Gems the deluxe treatment that it deserves.
In Josh and Benny Safdie’s film, a man's individual tragedy illuminates the emptiness of the systems that define him.
By the end of the film, it’s clear that the most merciful act for the series may be a stake through the heart.
Noah Baumbach’s The Meyerowitz Stories is a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.
The film feels lived-in despite its glaringly mannered dialogue and charmingly eccentric characterizations.
Criterion has outfitted Anderson’s magical and career-redefining whatsit with a shimmering and gorgeously immersive transfer.
The film risks offense by putting a typically Adam Sandler-ian twist on a tired familial trope.
As a Happy Madison production, it’s exhaustively lazy, outside of its righteous dedication to the valorization of the man-child.
It evinces no interest in the people who come into Max’s store and wind up as fodder for his increasingly violent and self-absorbed escapades.
Jason Reitman fails to take into account any of the positive endeavors enabled by social media, which will no doubt be used to promote and market his film.
It only bothers to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
The obvious amount of hard work that went into this out-of-touch sequel is partly what makes it so irritating.
Longworth’s openness to the less-respected titles in the Pacino canon allows her to fashion a coherent biography of the actor’s work.
Yet another instance of a decent, potentially thorny premise bogged down in a mess of treacly sentiment and tedious moralizing.
This is a father-son love story, and it’s caustic, complex, and utterly compelling.
Adam Sandler’s celebration of stunted-maturity stupidity continues unabated in That’s My Boy.
On the occasion of his 86th birthday last Friday night, Jerry Lewis was in his element: water.
So, apparently David Lynch has added film promotion to his post-Inland Empire activities.