Wonder Woman’s Diana is ultimately an idealized abstraction more than a fully rounded character.
The inclusion of each cut of The New World marks this as the definitive home-video edition of Terrence Malick’s greatest film.
It spends a lot of time considering the fear of knowing, which may explain why Alejandro Amenábar didn’t seem to know what kind of film he was making.
The film’s highpoint is one of the most moving sex scenes in all of American cinema, and the irony of it involving bland puppets is hardly lost on Kaufman and Johnson.
Throughout, director Justin Kurzel’s stagey pretensions clash with each of his aesthetic choices.
The script is so bereft of insight into its characters, there’s only so much even an actor of Tom Hardy’s stature can do.
Anomalisa exhibits Charlie Kaufman’s patented mix of tender melancholy and dark, absurdist comedy.
Justin Kurzel’s Macbeth is most compelling when advancing its familiar plot through associative editing.
It lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
In the wake of the ostentatious atmospherics summoned by the likes of Shutter Island and American Horror Story: Asylum, the film feels unnecessarily restrained.
It’s another modern dystopia parable, which rehashes the same few superficial humanist/socialist platitudes over and over again, with such reliability as to nurture our complacency as effectively and insidiously as a Capital One ad.
Meticulous in its adherence to conventional narrative inducement, it only offers a sanded-down and embossed vision of Stephen Hawking and Jane Wilde’s 30-year marriage.
The film is guilty of some of the same quick judgment it clearly doesn’t endorse, exploiting Julian Assange’s unmistakable appearance to help give itself a boogeyman.
An awfully expensive and grossly extended Cialis commercial.