The inclusion of each cut of The New World marks this as the definitive home-video edition of Malick’s greatest film.
As intelligent, often hilarious, and occasionally insightful as it is, it aslo shows a filmmaker’s style hardening into shtick.
True Detective’s first season had a methodical and measured approach to tracking its villain, but this season doesn’t know when to stop changing things up.
This is an irritating table-setting episode in which the characters constantly explain how the pieces fit together.
Everything you need to know about the inconsistencies of the show can be summed up by the two standoffs that occur in this episode.
Throughout this season of True Detective, a singular point has been drilled into our heads: “We get the world we deserve.”
Good and evil have often been described as two sides of the coin that is humanity, and “Down Will Come” certainly puts that theory into practice.
Finally, there’s Frank, who’s still in what he referred to as a “papier-mâché” state of being—neither coming nor going.
Ultimately, what gets Frank out of bed is an echo of Leonard Cohen’s sentiment in the show’s theme song, “Nevermind.”
All the central characters have moments here in which they, for all intents and purposes, might well be dead.
There’s an engaging trashiness to season two of True Detective, but the overall production feels overbearingly self-serious.
Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
Liv Ullmann’s film is no tearjerker, but it makes the stage play’s guessing-game quality on screen without copping to reductivism.
A new element in Look of Silence is the view it offers of those who knew murdered victims or who managed to escape death.
The look of Akiva Goldsman’s fantasy is limp, timid, and occasionally outright awkward.
A tale of memory and redemption that does little to linger in the mind and even less to decry P.L. Travers’s claim that Disney turns everything it touches into schmaltz.
If I had to bet which Oscar contender will score the most nominations without a single win, I’d go for Saving Mr. Banks.
Epic is something close to an animated masterpiece provided it’s watched on mute.
The action merely meanders when it should be hurtling forward, running in circles when one expects it to head toward a conclusion or some sense of resolution.
This hodgepodge of a crime film looks great on Sony’s Blu-ray, but the package offers only crumbs in the extras department.