The film doesn’t offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.
The film is an unwieldy array of muddled ideas that never gel together into a cohesive whole.
The series eclipses its source material in capturing the omnidirectional dread of Lovecraftian horror.
The film is at its best when it’s focused on the euphoria and tribulations of its central couple’s love affair.
Ben Is Back is more unpredictable and slyly entertaining than its earnest-sounding premise might suggest.
The innate imperfection of canine hair gives Wes Anderson’s lovingly crafted dioramas the illusion of life.
Too much is at stake, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
The Immortal Life of Henrietta Lacks awkwardly and cumbersomely arrives at its revelations.
Josh Gordon and Will Speck’s Office Christmas Party generally smacks of trying too hard to earn its laughs.
The endless set pieces grow wearisome in their reliance on prior choreography, though on occasion something impresses.
Despite the standard-issue sap of its garden-variety plot, the film isn’t out to change your life or desperately steal your tears.
In Xavier Gens’s The Divide, the revolution will not be televised, only the degradation of human civility.
There’s a gallows humor to the death sequences that giddily invites our applause, but the film also wants us to be appalled by how and when death can come to us.
The film feels liveliest when considering what happens when scientific research collides with the individual egos and desires of those producing it.
The Hunt for Red October is a thrilling edge-of-your-seat trifle that has admirably withstood the test of time.
Free of Harrison Ford’s noble-beyond-belief portrayal of Jack Ryan, The Hunt for Red October remains the best Tom Clancy adaptation to date.