The material, convoluted even by Shakespeare’s narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
Many wondered why Foxcatcher’s Steve Carell didn’t attempt a campaign in supporting actor, which is where BAFTA slotted him.
The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
Of greatest damage to its coherence is its wholehearted belief that its subjects are offering firsthand reports worth hearing.
Linklater’s film is an experiment in time, and one that’s attentive to the audience’s sense of empathy.
Not since Robert Altman’s Nashville has an American film felt as real as life itself.
Tomorrow, the WGA will announce its 2014 award winners, and whichever scribe(s) waltz off with the Original Screenplay prize may do the same on Oscar night.
To many fans dismay, the arenas in which the film is most likely to fall short are the acting categories.
The film is a lot more fun when it’s completely nonsensical, before its baddie’s motives and harebrained plot are funnel-fed to the viewer.
People who saw the film wondered if they met up again. So did the filmmakers.
A rote home-invasion thriller afraid to be seen as just another rote home-invasion thriller, the film turgidly grasps for profundity by framing bloodlust as patriotic duty.
For those enmeshed in the critical universe, or just plain savvy about film, pullquotes can have a powerful effect.
These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape.
Before Midnight, the latest film by hometown hero Richard Linklater, was one of the festival’s most anticipated features, and it didn’t disappoint.
Personal, understated, and surprisingly strange Sinister is one of the most compelling horror films of the past decade.
It derives its success from the unsentimental alchemy of its frank dialogue, chemistry between its two leads, and Linklater’s deceptively simple visual style.
Taking a cue from the Wally Pfister Academy of Gloomy Cinematography, Sinister is a film about shadows.
The scent of personal catastrophe and furious impulse permeates throughout Pawel Pawlikowski’s film.
Sleeping Beauty is enervated, ludicrous, and the sort of unique debut that makes one impatient to see what comes next.
You can’t swing a cat in this town without hitting a theater with a dysfunctional family drama, and this one even has the kitty to prove it.