Rustin roots itself cinematically more in fantasy than possibility.
The details in The Dropout are strikingly unembellished, but it’s the perspective-shifting storytelling that brims with imagination.
Jon Stewart’s amiable satire tries to show that you can make light political comedy in the Trump era.
The show’s third and final season is a visual achievement, typified by imaginative flights of absurdism.
Christopher Nolan’s goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
Where the show gets a leg up is in its editing, which splices between the main character’s aggressive training and his tranquil family life.
It’ll be a close one, but we say: En Ra Ha!
The tensions inherent in the film’s split personality work in its favor.
Julie Taymor is clearly trying hard to gussy up a screenplay that plays more like The Wonder Years without the cultural insight.
Among its many identities, M. Night Shyamalan’s Lady in the Water is first and foremost a gaping psychic wound.