The film exists largely to be replaced by the next shiny thing in the MCU conveyor belt.
The show’s fifth installment is both more simplistic and less coherent than past seasons.
Every time that Tenet stops to speak, it only emphasizes a hollowness within.
The film allows that we are complicit in privilege for our fascination and envy.
The film frequently falls back on the stately demeanor of countless other historical biopics and period pieces.
How has Oscar royally screwed things up this year? Let us count the ways.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
The film concerns four women who take fate into their hands in the wake of their criminal husbands’ deaths, forging a future on their own terms.
Simon Baker’s film isn’t about surfing so much as it is about riding a wave that must eventually break and recede.
Will Gluck’s Peter Rabbit is mercifully light on the soppy sentimentality that often weighs down most kiddie flicks.
The difference between the film and its equally expensive contemporaries is Luc Besson’s playful, childlike naïveté.
Throughout, director Justin Kurzel’s stagey pretensions clash with each of his aesthetic choices.
Temperamentally, Guy Ritchie aligns more with the lithe, James Bond-like Solo: detached, above-it-all, eternally cool under pressure.
“Young and Beautiful” might be the very best thing to have emerged from Luhrmann’s epic undertaking.
We’ve compiled a list of the finest film performances delivered by actors this year, at least until this point.
Graciously and appropriately, Luhrmann eventually lets his gung-ho predilections simmer down.
Decadent prose is transformed into a decadent filmmaking style that defies modesty in the most brutal sense.
It ain’t the nostalgia the repeat offenders at Concept Arts were going for.