When in doubt, go with the star of the biopic.
Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.
Ron Howard’s Thirteen Lives gets lost in a story that’s already been told.
Matt Reeves’s compelling back-to-basics take on DC Comics’s most iconic character gets an excellent 4K release.
The Batman is a commemoration of the Batman mythology and its stylistic and tonal shifts across its 80-year history.
The film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lens of the ruling class.
Ava isn’t only banal, but also, in its half-hearted stabs at novel ideas, seemingly content with its banality.
Social ills become frivolous punchlines in this dire slice of Hollywood escapism.
Gentrified London is akin to Guy Ritchie’s filmmaking: a characterless mockery of its former glories.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The film concerns four women who take fate into their hands in the wake of their criminal husbands’ deaths, forging a future on their own terms.
Throughout Dan Gilroy’s film, a promising character study is smothered beneath lazy genre machinations.
The characters’ emotional vacancy feels like another auteurist tic to which Lanthimos is dauntlessly committed.
Jerusalem Film Festival 2017: Siege, Redoubtable, The Beguiled, On the Beach at Night Alone, & More
Jerusalem is a city of beige and tan, a vast barren sprawl that is, despite the brutal heat and muted colors, quite beautiful.
Sofia Coppola serves up a cautionary revenge tale told from multiple perspectives, and thus none at all.
Coppola is faithful to the trajectory of Thomas Cullinan’s original story while reorienting our allegiances.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
The film joylessly coopts the hoariest stylistic tics and narrative tropes from your run-of-the-mill 1990s thriller.
The film exists resolutely outside of salience and doggedly within the comfort of escapism.
The inclusion of each cut of The New World marks this as the definitive home-video edition of Malick’s greatest film.