Haynes’s film intermittently hits upon a few original ways of representing its ripped-from-the-headlines mandate.
The film envisions Denzel Washington’s Robert McCall as a hero in absolute concord with the world of his own fiction.
The affable actor talked to us about playing a self-doubting beta male.
The primary model for Jared Moshe’s The Ballad of Lefty Brown is a particular strand of postwar western.
Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.
It’s modest in scope, its concerns limited to man’s attempts to live both morally and harmoniously with nature.
The film sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.
The Sinner recedes from a grisly opening into an examination of one woman’s complicated history.
If, as Jimmy famously tells us, there’s no crying in baseball, there’s plenty of it in baseball nostalgia.
Independence Day: Resurgence does nothing satiric or fleetingly parodic with the notion of a world united in the midst of alien annihilation.
A Bourne movie turned just askew enough to be funny, Nima Nourizadeh’s American Ultra trains a bemused eye on a trope ripe for a ribbing.
The material, convoluted even by Shakespeare’s narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
All this should build up to a moderately engaging battle of wits, but the script has little interest in wit and no capacity for psychology.
Cherien Dabis is least successful at connecting her character May’s marital crisis to the rumblings of her repressed heritage.
It ably captures the provocative open forums that Dawkins and Krauss conduct, but its uneven nature occasionally dulls the effect of these intellectually stimulating conversations.
Nora Ephron imbues the film with a self-awareness that remains rewarding in spite of its contradictions.
1600 Penn quickly announces itself as a slapsticky, family-driven alternative to HBO’s restlessly scathing Veep.