The film’s commentary on vice and decency is far less immediate and realistic than its gritty aesthetic would have one believe.
Pure bliss, Malick’s incantatory New World suspends us in time-regardless of how long it runs.
In Kicking It, the impoverished conditions of the film’s subjects matter significantly less than the rush of competition.
Martin McDonagh is the Quentin Tarantino of the theater, which is descriptive shorthand for something quite extraordinary.
Martin McDonagh is far too pleased with stuffing his characters’ mouths full of overly written speeches and one-liners.
What does Woody Allen believe in?
Cassandra’s Dream is simply content reprimanding the main characters for not knowing their place.
Though a good many of us might like to think otherwise, a critic is not a prognosticator.
The film materializes and soars out of a splendiferous, almost sci-fi ether.
Where Bob Fosse edited to the dance, Michael Mann edits to the music underscoring his glossy depictions of extreme violence.
When Farrell and Foxx are in motion, they’re able to coast along on their charismatic movie star presences.
What follows is a numbered, point-by-point subjective breakdown of The New World’s two versions.
When you get right down to it, Ask the Dust is unforgivably dull as dishwater.
Any movie that can make Jeffrey Wells sound like an 18-year-old James Agee is a movie I need to see as soon as possible.
Other people direct movies. Terrence Malick builds cathedrals.
The sociological and emotional heft of The New World is encased in a swirl of hallucinatory images.
Sorry, pervs, but Colin Farrell’s penis has stayed on the cutting room floor.
Independent cinema has fallen hard and it can’t get up.
Explorer of American imperialism, director Oliver Stone turns to the ancient world to examine the life of a different kind of president.
A sign of the times: S.W.A.T. opens with an aerial shot of the Hollywood sign before quickly descending into white-noise chaos.