Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
Three years after he hit paydirt and a bonanza of critical acclaim for The Big Short, Adam McKay is back with Vice.
Sharp Objects ultimately testifies to the triumph of survival, no matter how ugly or desperate a form it takes.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
Denis Villeneuve’s moving yet disappointingly cautious mind-bender is accorded a robustly beautiful transfer and surprisingly thoughtful supplements.
The film gets close to a double-barreled satirical thriller commenting on the historic rift between city and country.
Its searching images counterpoint the hyper-articulate methodology of its characters’ sense of uncertainty.
With Arrival, director Denis Villeneuve communicates the wonder of a Steven Spielberg alien movie within a decidedly hard sci-fi milieu.
The film’s story threads are of a tonal piece, all about striking poses as opposed to exploring humanity.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.