Here We Are is one last invitation to let Sondheim’s music guide us through the woods.
The series is formally playful, deftly balancing its absurdity with healthy doses of sincerity.
Dominik’s adaptation of Joyce Carol Oates’s novel paints Monroe as nothing more than a bruised plaything.
The big disappointment of the film is that McCarthy’s performance is all Jekyll and no Hyde.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
The film revives many noir touchstones, but never the throbbing unease that courses through the classics of the genre.
One of the finest, most distinctive Marvel productions yet gets an expectedly sterling home-video release.
The film is committed to the idea that heroism isn’t a burden but an uplifting realization of our best qualities.
Writer-director Shana Feste’s film alternates between cutesy comedy and undercooked emotional drama.
Any potential subtext of Munro Leaf’s children’s book has been bleached out in the marketplace-oriented Ferdinand.
The film is unable to reconcile a desire to ridicule its own artifice with constant attempts to foster genuine empathy and dramatic tension.
I, Tonya’s attempts to implicate viewers is its broken shoelace, too pat and glib to be convincing.
The Nut Job 2’s episodic plot is little more than a clothesline on which to hang manic action sequences.
Vinyl never feels as if it’s truly about the record business, which instead serves as a backdrop for iconic guest characters and mob-movie set pieces.
Compounding the leaden pace are the shoehorned references that connect the film to the continuity of the Marvel universe.
It’s the sustained, full-bodied mania of Melissa McCarthy’s performance that anchors the film’s many winning blind-alley gags.
One’s ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
The chemistry between Pacino and his cast mates gives this lightly amusing contrivance surprising emotional resonance.
It makes John Huston’s elephantine, synthetically charismatic 1982 adaptation look like a Minnelliesque model of focus and concision.