There’s an engimatic quality to the role of Nolan in the current filmmaking landscape.
Christopher Nolan’s film willfully and startlingly dispenses with the plodding routines of the average biopic.
Review: Christopher Nolan’s Tenet Is a Time-Twisting Puzzle That Isn’t Worth Solving
Every time that Tenet stops to speak, it only emphasizes a hollowness within.
Guillermo del Toro is a profoundly gifted formalist with a uniquely perverse obsession with the binaries that separate us as human beings.
The metronomic precision of director Christopher Nolan’s cinema is foregrounded in Dunkirk.
Adam West and Burt Ward are antipodal to every subsequent incarnation of Batman and Robin. The dynamic duo are blithe fuddy duddies turned billionaire scions in spandex.
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.
Burton puts more of a premium on sound and image to suggest character depths than the more prosaic Christopher Nolan does.
Confession: I don’t like The Lord of the Rings films. All of them.
So, Contagion is the reigning champion—at least, until Alfonso Cuarón’s Gravity opens in IMAX 3D this Friday, the first AHB to open in the two-plus years since.
American Animal’s poster, like the film, finds common ground between the high- and lowbrow, the artful and the infantile.
Following is a polished and disturbing introduction to the work of, for better and worse, one of the most influential contemporary pop filmmakers.
The year's silliest and most stubbornly self-serious blockbuster,arrives on Blu-ray with a flawed A/V transfer.
There seems no reason why the film’s Art Direction, Set Decoration, and Production Design can’t compete right along with this year’s showy heavy-hitters.
Conventional wisdom says this film would surely have the sound categories in the bag.
The film is a bit unwieldy in scope and in danger of being made obsolete by the next version of the RED camera.
At the center of all three of films is a deep tension regarding heroism and its tangible impact on the mass corruption infecting much of society’s institutions.
In The Dark Knight Rises, evil takes the form of those intent on overturning societal dynamics.
Critics get a bad wrap for being “out of touch” with the masses, but Tomatometer listings indicate that critics have been surprisingly forgiving of superhero fare.
The screenwriters are savvy enough to acknowledge that audiences have moved on from Ethan Hunt and the IMF.