Shining Girls ultimately doesn’t give us much sense of what’s at stake in its byzantine narrative.
Wes Anderson’s film is an often fascinating, wondrous exercise in complex narration and visual composition.
Every scene in Josephine Decker’s film operates at a maximum frenzy fraught with subtext.
The thrill of the film’s craftsmanship is inseparable from its main character’s abuse.
The film never meaningfully reckons with the complexity of the characters’ motivations and the consequences of their actions.
Universal outfits Peele’s neurotic, fatally self-conscious film with a luxurious transfer that should please fans.
The series successfully creates an atmosphere of dread and uncertainty, but its withholding of catharsis can be wearying.
Peele’s follow-up to Get Out unnervingly speaks to the issues affecting a divided nation.
A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry’s most chaotic and unmuffled film—until it isn’t.
The film is content to present Anton Chekhov’s ideas rather than grapple with their provocative and complex subtexts.
The Handmaid’s Tale remains intellectually nourishing, easy to admire, and difficult to endure.
Throughout, it always threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
Like its protagonist, Philippe Falardeau’s film gets lost in a haze of incidental cacophony.
The Handmaid’s Tale is at its best when focusing on the oppressed, instead of the oppressors.
The film’s notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
The film convincingly furthers Perry’s continuing championing of DVD as the more evocative alternative to Blu-ray’s crisp digital polish.
It can’t develop themes because it’s too busy disseminating information, and this extends to its main characters.
Both Olivia Wilde and Luke Wilson understand the greatest pain of loss to be rooted in its searing inexpressibility.
Every beautiful, resonant image in Alex Ross Perry’s new film is fraught with neurotic, diaphanous riddles.
Considering that “Person to Person” is the series finale of Mad Men, it’s best to start with its final images.