The film matches stylistic experimentation with a multi-tiered narrative of equal ambition.
The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.
Shaka King’s film, anchored by two sterling lead performances, complicates the expected narrative of martyrdom.
For a spell, Melina Matsoukas’s film exudes the concision of an old B movie.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The film concerns four women who take fate into their hands in the wake of their criminal husbands’ deaths, forging a future on their own terms.
Gary Oldman’s assured win over the two main critics’ favorites, Timothée Chalamet and Daniel Kaluuya, represents an unabashed retrenchment that’s entirely off brand in this Oscar year.
There’s a narrative lopsidedness to Black Panther that sharply undercuts Killmonger’s emotional journey.
It incisively probes the connection between the racism of the “liberal elite” and good old-fashioned white supremacy.
Jóhann Jóhannsson’s score is just one of many elements that conjure a relentlessly terrifying realm of despair.
The show wants to both mock the no-bull crassness of political wheelers and dealers and cling to a moralistic view of government.
The sheer wastefulness of Eran Creevy’s Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
Johnny English Reborn barely functions on the lone level of juvenile absurdity.