It asks us to immediately bond with and root for these criminals as the good guys despite knowing almost nothing about their motivations.
After a while, the film’s sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
It serves as one of the definitive American explorations of the weird and precarious relationship that exists between actor and director.
This sequel makes the most of Harry and Lloyd’s broadly neutered existence.
The actors create emotionally coherent characters from a collection of often contradictory or just plain improbable actions.
Theodore Melfi’s debut feature, St. Vincent, is a heartwarmer that never insults.
This release is almost certainly a placeholder for a more illuminative future Criterion edition.
Criterion’s upgrade of Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
Fantastic Mr. Fox is one of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams.
George Clooney’s film boils a big, messy maelstrom of theft and uncertainty down to a digestible, faintly appetizing mush.
Wes Anderson has become a master of the fetching teaser poster.
The film’s indulgence of its central, vaguely monstrous figure is as stunning as its not-so-casual misogyny.
The twisted minds at Lionsgate really outdid themselves with the poaster for What to Expect When You’re Expecting.
The posters chicly suggest this won’t be just another tour of Charlie Sheen’s twisted brain.
Reading the book sort of feels like looking through a photo album, often to the point of monotony.
The transfer shows up the seemingly endless visual and auditory pleasures of Anderson’s latest masterpiece.
This is a rogues gallery that runs the gamut from clingy patient to schizo serviceman.
The original version of Little Shop of Horrors is finally allowed to run rampant over expectations and popular discretion, as intended.
A more-than-competent transfer of one of American cinema’s unsung gems, but Ed Wood deserves Criterion-level respect.
Throughout, Michell and screenwriter Richard Nelson keep you at arm’s length from Franklin D. Roosevelt.