John Carroll Lynch’s Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
With this gorgeous and obsessive four-disc set, Donnie Darko fanatics may have found their ultimate bible, at last.
Pablo Larraín’s film bluntly hammers home the notion that history is framed by perception rather than reality.
It places more focus on the childish fabulousness of Tom Sawyer than the racial reckoning of Huckleberry Finn.
Riley Stearns’s film obliquely addresses its narrative mysteries through the conversational cracks of two people in enforced proximity.
James Franco’s readiness in approaching famously abstract source material certainly doesn’t translate well into his directorial formalism, or, more appropriately, lack of formalism.