The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
The sobriety of its vision serves as a conscious respite from the hyperbolic hate machine of modern American culture.
Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
Ron Howard’s adaptation retains the essential inanity of author Dan Brown’s source material.
The stark atmosphere and the intimate focus on character drama keeps the action on a muted emotional keel.
Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.
The Program is flashier and more self-conscious than many biopics, but it’s ultimately just as hollow.
It boasts a Greatest Generation nostalgia so thoroughgoing it might as well be called Boys Becoming Men.
Like his prior The Kingdom, Peter Berg’s film pretends to dabble in a frothy moral ambiguity, swiftly betraying its true aims with trigger-happy jingoism.
An overmatched star and a scarcity of eccentricity sink this hip-lit origin story from director John Krokidas.
The film’s highly calculated beauty suffocates rather than elevates the story’s emotional underpinnings.
The film is a smartly written, deeply engaging portrait of a movement just about to begin.