Unlike the red balloon that Pooh follows through much of the running time, Marc Forster’s film lacks lightness.
In Zoe, you see the honeymoon phase but not the emotional intimacy that makes a relationship last.
T2 seeks to recreate its forbear’s blend of grime, bliss, rebellion, and cynicism in a more globalized Scotland.
Bill Condon’s remake actually delivers a remarkably optimistic balm to a festering, existential wound.
Compared to its predecessor, director Danny Boyle’s T2 Trainspotting is a relatively aimless and sedate experience.
Ewan McGregor’s inert adaption smooths out the Philip Roth novel’s eruptions of self-loathing and doubt.
Director Ewan McGregor smooths out American Pastoral’s eruptions of self-loathing and doubt.
It works as both a modern morality play for our globalized world and as an indictment of Europe’s ethical bankruptcy.
It’s unclear how witnessing a family deal with their specific issues affects Jesus’s own perspective on his destiny.
It constantly blunders into stylistic choices and narrative clichés that sabotage the sturdy two-hander at its center.
The film is less a character study than an impressionistic portrait of a troubled artist’s internal chaos.
Julius Avery’s Son of a Sun has the requisite iconography of a crime thriller, but no investment in any of it.
What works about the film can largely be attributed to the original text, which is full of cruel twists and savage blows that Tracy Letts wisely retains for the screen.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.
This epic waste of $190 million plunders the grab bag of overused plotlines, failing to put its own stamp on much of anything.
The film’s strongest bit of buzz has been swirling around the lead performance from Naomi Watts, whose tortured turn as the quintet’s mother hen has made her a Best Actress frontrunner.