Field’s first film in nearly two decades can’t quite decide on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
The triumph of Disobedience is how the performances and style exteriorize the interior worlds of the characters.
The latest episode of Homeland is clear, measured, and deliberate in its critique of American policies.
Florence Foster Jenkins champions coddling people like Jenkins and treats critical thinking as the enemy.
Despite the implication of the title, “The Litvinov Ruse” is no trick.
The episode closes with Carrie finally making the connection that Allison so desperately sought to cover up.
The filmmakers oddly forgoe the abundant elegiac aspects of his film’s factual material for a tone approaching the ebullient.
A well-meaning dud, the film’s only defiance is testing its audience’s patience.
Edward Zwick has crafted over two hours of repeatedly bad ideas.
The White Countess is an unceremonious denouement for the erudite Merchant Ivory label.
Don’t miss the film for Al Pacino’s great scenery-chewing performance and bold expression of a great moral conflict.
Writer-director Michael Radford drowns The Merchant of Venice in self-importance.
Its distanced approached to the Holocaust makes it every bit as problematic as Roberto Benigni’s feel-good comedy Life is Beautiful.