Soderbergh’s professed neutrality toward Guevara’s life and times succeeds mostly in leeching the emotion out of them.
Until 24 is back on the air, we won’t be able to wash the bad taste of Vantage Point from our mouths.
Yet another case of fractured narrative storytelling in service of a story that would be shamelessly cliché if it were told in linear fashion.
Paul Greengrass’s latest plops on the screen with lots of hi-fi energy but, strangely, very little feeling.
The film is so aesthetically corrupt that it makes Michael Bay’s The Island look like a Bazinian tract by comparison.