The film is an un-aerodynamic vehicle of uncertain design, packed carelessly with origin storylets and pop-cultural flotsam.
Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
It often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
This buckaroo of a disc does not blow it on the image and sound front at least.
If it turned out to be Spielberg’s final film, it would make for a fitting final curtain call for his brand of escapism.
The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
Joe Wright’s Darkest Hour reinforces only the most simplistic and patriotic vision of Winston Churchill.
The flawless A/V transfer of Disney’s Blu-ray fully translates the film's aesthetic beauty.
Rogue One at least creates its own character dynamics and plot routes rather than coasts on existing ones.
It’s mostly notable for the concerted, and effective, effort that’s been made to have this first Star Wars Anthology film be in conversation with and stand apart from the official Star Wars series.
The film conveys an engagingly low-key atmosphere, pervasive with wayward souls haunted by poor choices.
Interview: Ben Mendelsohn on Slow West, Rogue One, and More
The actor discusses coming onto the set of Slow West like a wrecking ball, those Star Wars rumors, and more.
A pageantry of pseudo-art poses, a self-consciously cool reorientation of the western as silly symphony.
A tangle of violent, symbolic gestures that regards economic exploitation with fetishistic, impossibly overdetermined abandon.
Bloodline is full of gifted actors, but Ben Mendelsohn walks away with it, largely because of his uniquely poignant sleaze-ball charisma.
As much as it’s a genre workout for Macdonald, the script makes room for a tough-minded, psychologically corrosive depiction of vengeance.
It doesn’t take long to realize that Ridley Scott’s adaptation is only aiming for certain forms of credibility, and callously eschewing others.
The cautious optimism with which it answers questionsa about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it’s on the scandalous menu.