The series is like a Magic Eye picture in reverse: The more you focus your attention on it, the less there is to see.
There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
This powder keg of a film gets an uneven A/V presentation but a confident and enlightening commentary track from Fennell.
The film’s empowerment fantasy of a woman who steamrolls male egos is as stylish and fun as its portrait of gender relations is dire.
Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters’ communion.
When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it’s deeply moving.
The film quickly reveals that the only angle it’s interested in is the one that most sympathizes Gary Hart.
One of Jarmusch’s best and most divisive films has been outfitted with a beautiful and imaginative Criterion package.
A gorgeous, perceptively supplemented restoration of a pivotal early masterwork in Leigh’s career.
It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
Its feminist perspective checkmates the misogyny and machismo that too often mar films set in combat zones.
The film makes everyone’s lives nothing but the blank spots in fate’s big book of Mad Libs.
A consummate sampler platter of the bounty of state-of-the-art animation currently available as alternatives established major-studio house styles.
As juvenile and frivolous a wish-fulfillment fantasy as one might expect from the visionary behind the Princess Leia hogtied to Jabba the Hut.
The push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
The film is unfortunate proof that Pixar, previously known for its brains, is now resting a little too heavily on its nominal brawn.
Odds are John Singleton doesn’t know he’s made one of the funniest films of the year.
An intensely intelligent look at American history and a blueprint for how to (un)make it, from one of our country’s finest directors.
Rango receives an excellent audio/visual treatment and some solid extras from Paramount.