Actors Benicio Del Toro and Josh Brolin, producer Molly Smith, and director Stefano Sollima discuss the film’s function as a spinoff of Sicario.
The plot takes leaps that feel as reckless as they are refreshing in such a doleful film of terminal prognoses.
Throughout Avengeners: Infinity War, rapidity (of dialogue and drama) is mistaken for actual rhythm.
The Last Jedi is largely content to further the themes and narrative strategies of J.J. Abrams’s predecessor.
Mark Osborne’s The Little Prince reveals itself to be concerned with the blossoming of qualified idealism.
The film finally seems conspicuously at odds with itself, neither funny nor impassioned enough to pass as an accomplished vision of transnational welfare.
Jóhann Jóhannsson’s score is just one of many elements that conjure a relentlessly terrifying realm of despair.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
Warner’s gorgeous Blu-ray preserves Paul Thomas Anderson’s Pynchon adaptation as the director’s anti-Magnolia.