The film’s satisfyingly tactile action set pieces serve to hammer home just how perilous the space race really was.
The film is content to present Anton Chekhov’s ideas rather than grapple with their provocative and complex subtexts.
Stephen Gaghan’s Gold finds no treasure of gleaming originality in its crushingly clichéd anti-capitalist parable.
It potently clarifies how our lives are spent distracted from matters of the closest personal significance.
The episode deals with several kinds of love: romantic, platonic, and that sparkly feeling somewhere in between.
The tectonic shifts in the inner lives of Girls’s main characters sometimes bring them back together.
Like a Jane Austen novel, Girls seems obsessed lately with pairing its main characters up with long-term mates.
Tim Blake Nelson’s film immerses itself into as many pain-induced (and painful) subplots as it possibly can.
The film is a lightly dramatized case file that’s structurally averse to world-building and psychological portraiture.
The payoff is a huge and telling visual howler, summarizing the entire plot with a blithe indifference that will inevitably mirror the audience’s.