The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
Director Panos Cosmatos’s Mandy is a profoundly violent and weirdly moving poem of male alienation.
The interminable first act of Christina Choe’s film does eventually threaten to lead us into resonant territory.
The battle of wills between Lavrentiy Beria and Nikita Khrushchev propels the film’s most pointed satire.
The film sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.
The film gets close to a double-barreled satirical thriller commenting on the historic rift between city and country.
The film's Hollywood skewering is constantly spoon-feed to us like strained bananas.
We’ve compiled a list of the finest film performances delivered by actors this year, at least until this point.
She’s living proof that you should never presume to know what you’re going to get when you meet an actor.
James Marsh perfectly matches his aesthetic strategies to the story’s shifting moral terrain.
Fails not so much because of its occasional didacticism than it does from a scattered plot that makes the story’s overriding theme or message difficult to grasp.
The sheer wastefulness of Eran Creevy’s Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
Unwieldiness seems to follow Madonna’s W.E. wherever it goes.
Will Made in Dagenham finally win Sally Hawkins the Oscar nod denied her two years ago for Happy-Go-Lucky?
A bit lean on the extras, but Sally Hawkins and Eddie Marsen’s performances still make this Happy-Go-Lucky DVD worth every penny, don’t they?
The film tries to show how hard it is for people to retain their essential goodness in spite of the indignities that subsume their lives.