The further things go off the rails, the more the film revels in its retro special effects.
André Øvredal’s film is largely devoid of any palpable atmosphere or tension.
Christopher Nolan’s film willfully and startlingly dispenses with the plodding routines of the average biopic.
To the film’s credit, Savage imbues the proceedings with a good deal of visual ingenuity.
The film brushes up against a greater truth about how men and women move through the world.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
Throughout, James Gunn renders the half-grim, half-absurdist nature of the Suicide Squad with delightfully bloody abandon.
The droll world of writer-director Joel Potrykus’s Relaxer is defined by feats of man-child pettiness.
Blade Runner 2049 is so terrified of disreputability that it renders itself dead from the waist down.
We might expect it to end on the performance, as each episode has until now, but Lynch throws us a curveball.
The film’s characters are stock types without enough satirical texture to fulfill their function in the narrative.
A dour and withholding character study, Michel Franco’s film invites more questions than it’s willing to answer.
A Kerouac-lite immersion into young love rather than a more provocative portrait of modern urban life’s hazards.
Self-involved twentysomethings living off their parents dime in Williamsburg are easy targets for derision.