As it proceeds, the appeal of its nostalgia wears thin and you may notice that there isn’t much beyond the window dressing.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
Roberto Andò takes the form of a classical whodunit and bludgeons it with naïve indignation and sanctimony.
Wonder Woman’s Diana is ultimately an idealized abstraction more than a fully rounded character.
The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
Whereas female sexuality was borderline vampiric in Antichrist, this time we’re in more ambiguous, contextually richer terrain.
McG strips serves up a variety of slick, well-paced shoot-outs and car chases, but his technical skill can’t quite overcome the story’s lazy sense of humor and incomprehensible plotting.
Its knack for extracting quiet beauty from all the mayhem lends Boss’s best scenes the precision and artistry of a monstrous ballet.
Susanne Bier’s follow-up to Open Hearts is wonderfully acted but predictably plotted by Anders Thomas Jensen.
This competent but disposable action thriller should appeal most to William Friedkin enthusiasts.
Basic is just that: a mundane military thriller whose only goal is to appeal to an audience’s basic desire to be tricked into multiple corners.
Olivier Assayas is a great lover of women, so its no surprise that the ladies of demonlover are every bit as vulnerable, feral and dangerous as Irma Vep.