The show’s cautionary tale about humanity’s self-immolation is disturbing enough to overcome its familiar narrative deck-building.
Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
It’s unclear how witnessing a family deal with their specific issues affects Jesus’s own perspective on his destiny.
Daredevil’s fight scenes are infused with the struggle of the poor and lower-middle class, and choreographed with thrilling uncertainty.
Like a Brazilian wax for the brain, Zack Snyder’s divisive reboot of the Superman franchise will continue to obliterate your senses in this impressive combo package.
All its faux-patriotism isn’t played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
The film is an earnest dark-night-of-the-soul slog whose guilt-purging destination is far too long in coming for 80 minutes.
The film is a lost-dog drama so insufferable it makes one wish its human characters would also run off and never return.
A geriatric summer adventure in which the appearance of action takes the place of the real thing.
If nothing else, the legacy of the Holocaust feels very much alive in Paul Schrader’s picture.
Until 24 is back on the air, we won’t be able to wash the bad taste of Vantage Point from our mouths.
Image, like identity, is always coming into focus throughout Fugitive Pieces.
Yet another case of fractured narrative storytelling in service of a story that would be shamelessly cliché if it were told in linear fashion.