The series is less about whodunit than about the role that technology increasingly plays in our lives.
Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
The show wants to both mock the no-bull crassness of political wheelers and dealers and cling to a moralistic view of government.
It’s hard to recall a film so immensely and reductively in thrall to the work of another director.
It treats its characters as placeholders for philosophical arguments and spends the majority of its running time trying to “solve” existential mysteries without adequately exploring them.
It’s not just the prosaic approach the mythically outsized hallmarks of Americana that makes A.J. Edwards’s first directorial effort feel like a Malick movie.
It showcases the evolving interests and talents of Zal Batmanglij and Brit Marling, but expands them and channels them into a more traditional thriller framework.
Robert Redford’s film is blindly cocooned by its own nostalgic self-regard.
Lovelace seems unwilling or unable to go to deeper and darker places.
Boasting enough fine performances to at least fill a 10-wide field, supporting actress is this year’s most riches-packed race.
Arbitrage is a distinctive, well-acted edition to the subgenre of thriller devoted to the American white-collar scumbag.
From Liberty Valance to Daniel Plainview, Hollywood has always loved a good bastard.
She’s an angelic, yet rough-around-the-edges, beauty whose interests speak to fanboys and indie fans alike.
Sound of My Voice lives for teasing out the unknowable.
Mystery seems to shroud every aspect of Fox Searchlight’s Sound of My Voice.
Cahill and co-writer Brit Marling struggle in vain to foreground the thematic significance of their film’s novel main conceit.
Another Earth is a resolutely small parable of grief that often feels menaced by its big-idea concept.