The film is a pointlessly complicated house of cards that crumbles due to its own hollowness.
At its deepest level, Air is a film about mortality.
An unimpeachable American masterpiece receives a gloriously shaggy and vital 4K upgrade.
After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
George Clooney’s film is a coming-of-age story that feels as if it was conceived inside of a lab.
Ridley Scott’s medieval saga insightfully revels in the complexities of its competing storylines.
The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
Chandor turns an intensely physical narrative into another of his inadvertently generic studies of procedure.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
Live by Night adds a new wrinkle to the well-traveled terrain of the mafia film: the woke gangster.
The Accountant unevenly juggles a “follow the money” procedural with a corporate espionage thriller.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.
An origin story, apologia, and harbinger of a second expanded universe of overpopulated action bonanzas.
It typifies Fincher’s style while pushing him in new creative directions, and the minimally loaded BD wisely leaves the film open for spirited debate.
There’s a comic streak to the film that suggests David Fincher may understand the material as trash, but it’s the kind of affectation that only reinforces its insults.
Few directors are as enamored with the passage of time and the preservation of memory as Richard Linklater.
The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.
Magnolia does more than well by the visual and auditory splendor of Malick’s strangely ferocious sixth feature.
Many reviews have pointed out that 42 is a very conventional screen biography of Jackie Robinson. It is.