The film is so riddled with noir clichés that one may initially take it for a genre parody.
Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
The film preaches of the love of creative freedom, yet finds no original form of expression of its own.
The filmmakers lay the groundwork for us to take the story as speculative fantasy, albeit with a real-life outcome.
David Frankel matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
Absent of humor and thrills, it’s also accented with designs and color schemes that are equally notable for their lack of risk.
Director Declan Lowney’s film operates from a conceit that affords only minor opportunities for true hilarity.
Parked is the kind of middling bore in which the notes are all laid out, but the music never floods through.
A coherent characterization of Robert Pattinson’s striving schemer is nowhere to be found in this pedestrian period piece.
No amount of random one-liners can compensate for material that operates like a booze bender.
An Irish-set comedy-drama, Turning Green isn’t particularly comic or compellingly dramatic.
Peter Morgan’s interest in prominent media figures intent on proving themselves worthy of their public spotlight positions continues with The Damned United.
The film world doesn’t need any more Guy Ritchies.
The film is chock-full of randy boozing and comic non sequitors more mystifying than amusing.