Once things get moving, it’s smooth sailing to the double-shocker of a denouement.
Time and again, Crisis shortchanges the human elements of its plot lines.
The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
The film reduces Ruth Bader Ginsburg's life to a series of clearly defined hurdles and overemphatic realizations.
Despite some realistic touches, Straight White Men, as directed by Anna D. Shapiro, goes to lengths to call out its artificiality.
The film is unmistakably alive to the humiliations of the social systems that keep the lower classes in their place.
As seen through James Lord’s eyes, the dramas and passions on display come off as melodramas and grotesqueries.
The film is deeply concerned with the salvation found in the meditative power of the arts.
Call Me by Your Name first earned plaudits at its world premiere at this year’s Sundance Film Festival.
Heavy on training montages and intergenerational torch passing, Cars 3 is an old-fashioned sports film at heart.
Ben Wheatley’s Free Fire reduces the modus operandi of the action movie down to its starkest elements.
The film has absolutely no interest in the dilemmas or after-effects of war and occupation.
Guadagnino’s film proves affecting as a chronicle of a young man learning to embrace his more emotional side.
The film gets close to a double-barreled satirical thriller commenting on the historic rift between city and country.
Nate Parker strains to control the strange and stirring complications of his subject’s visionary apocalypticism.
The narrowed scope of Parker’s film recalls that of Mel Gibson’s Braveheart.
Its self-consciously witty dialogue is meant to paper over gratuitous violence with a veneer of nonchalance.
The film’s story threads are of a tonal piece, all about striking poses as opposed to exploring humanity.
Temperamentally, Guy Ritchie aligns more with the lithe, James Bond-like Solo: detached, above-it-all, eternally cool under pressure.
Verbinski’s real purdy (and genuinely entertaining) big-budget western has been snuck out on video under cover of darkness.