Instead of a raucous celebration, The Flash feels like a muted parade of regrets.
In this film, nuance seems to have disapparated from the wizarding world altogether.
The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
The fun but more predictable Fantastic Beasts: The Crimes of Grindelwald moves the new series forward, but only incrementally.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
The film exists resolutely outside of salience and doggedly within the comfort of escapism.
The script doesn’t revel in Amy’s quite harmless flaws, or at least examine them in the spirit of benevolence.
The formalism fashions effective textural shortcuts to behavioral understanding that the remarkable cast fills in with finesse.
It neglects to thoroughly conceive of Emma’s plight, instead making only sporadic gestures to it.
With all due respect to the gentlemen in contention, this year’s likely Supporting Actor crop has shaped up to be a snooze.
The film is nostalgic, but only in so much as nostalgia provides an optimum, open landscape for manipulation.
Let’s talk about Kevin in the warm light of Oscilloscope’s visually okay and aurally spectacular Blu-ray.
Ramsay puts the art-house crowd though a titillating wringer in her contraption-like parental-dread thriller.
What we really need to talk about is the fraudulence of Lynne Ramsay’s overripe collage of bright colors, smug pop music, and flimsy characterizations.
The film overflows with characters even more repugnant than the irony of its groan-worthy title.
The promotion of Lynne Ramsay’s We Need to Talk About Kevin has been all over the map.
Beware the Gonzo is a dramedy set in the present day that doesn’t seem to know much about the present day.
Lynne Ramsay returns to the world of filmmaking after a nine-year hiatus, and we’re all the better for it.
This is a so-painful-it’s-funny comedy about the increasingly heavy pressures of modern-day middle-class existence.
The film is a quaint but inane portrait of a modern-day Big Apple family.