The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
While Mowgli: Legend of the Jungle’s perception of the politics of the jungle is often profound, the same cannot be said of its take on the human world.
The Grinch‘s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
Throughout Avengeners: Infinity War, rapidity (of dialogue and drama) is mistaken for actual rhythm.
Throughout, Francesco Patierno’s pacing is too hurried to lend much depth or insight to the film’s revelations.
Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
Marvel’s best film to date is a surprisingly beautiful, eccentric, and generous fable of interpersonal, political, and cosmic communion.
Nothing that Marvel Studios has produced can compare to the visual splendor of Scott Derrickson’s Doctor Strange.
The film is frequently guilty of the same obsolescence it accuses the characters of embodying.
The film is a lightly dramatized case file that’s structurally averse to world-building and psychological portraiture.
First, praise be to the brave Oscar pundits who have Bradley Cooper in their crosshairs.
Most affecting in its depiction of friendship, and the performances represent platonic male intimacy in convincing, often moving ways.
It puts more focus on delivering a jokes, imitations, zippy repartee, and sight gags than its plot’s familiar machinations.
It refuses to penetrate Turing’s carnality and allow Cumberbatch to truly wrestle with the torment of the man’s sexuality.
Following the gradually revealed deeper shades to the pair’s relationship in the first two seasons, the emotional canvas fully materializes here.
What works about the film can largely be attributed to Tracy Letts’s original text.
A once-precious franchise’s weakest installment, which forgets these adventures’ magic was never conjured by bells and whistles.
The film is guilty of some of the same quick judgment it clearly doesn’t endorse, exploiting Julian Assange’s unmistakable appearance to help give itself a boogeyman.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.