What the film lacks in connective tissue, it makes up for in sheer vibes.
Violent Night wants to have its Christmas cookies and eat them too.
Star Wars: Visions refreshes the Star Wars universe with an eclectic range of styles and tones and a subversive streak.
No Sudden Move mixes an old-school 1950s noir with a modern sense of social self-consciousness.
Black Widow isn’t terribly hard to follow, but in execution the film moves so haphazardly as to be bewildering.
Chris Hemsworth’s hyperbolically skilled soldier is borne of childish fantasies about the order of the world.
All of Scott Frank’s thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with ’90s thrillers like The Bone Collector.
A certain tendency of the American cinema is to confuse dramatic seriousness with moral seriousness.
Bill Guttentag presents an inept spoof on the election process for audiences who mistake fast talking for sharpness.
End of Watch is pure frat-boy fantasy, the video game to Southland’s great American novel.
The icy fatalism of film noir is turned to slush by Thin Ice.
W.E. is all about shameless visual pleasure, but not of the kind Laura Mulvey warned us back in the day.
The film marginally succeeds at perverting superhero stereotypes, and now it receives an expectedly excellent transfer from Sony.
The clashing of tones and mixture of genres point to a lack of a singular artist at the wheel.
The focus of the bonus features is rightfully on Kate Winslet and Leonardo DiCaprio’s titanic, emotional performances.
Sam Mendes’s first, most crucial mistake is to buy what the Wheelers are selling.
The film is a Big Chill for children of the early ’90s.