The soft-pedaled approach to its narrative strands gives the film the feel of an extended TV pilot.
This isn’t just an anti-superhero superhero film, but something akin to an anti-film.
The Five Devils exudes the claustrophobic feeling of a closed loop of trauma.
The film carries the almost exotic interest of its milieu as well as deeply personal overtones.
The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
Throughout Sibyl, Justine Triet is committed above all else to the tricks that memory and language can play on us.
The film comes to concern a selfless martyr before morphing, most absurdly, into a disease-of-the-week tearjerker.
Its shameful exploitation of Africans doesn’t stop with the privileging of the love affair between two white doctors.
Criterion brings startling clarity to every telling movement and gesticulation, even if the package is light on contextual supplements.
It’s practically blasphemous to discount Meryl Streep as a nominee.
In a year replete with great trash, American Hustle is the crown princess of the bunch.
If I had to bet which Oscar contender will score the most nominations without a single win, I’d go for Saving Mr. Banks.
The long love scenes between Emma and Adèle have garnered a lot of attention in discussions of Blue Is the Warmest Color.
Abdellatif Kechiche is a rhythm man, building the novelistically lyrical realism of his movies with the trickiest of notes.
The Telluride Film Festival is the home away from home for cinephiles the world over.