The film doesn’t break a single mold, and it doesn’t take long to realize that’s entirely the point.
George Clooney’s and Julia Roberts’s undimmed charisma brings enough grace notes to Ticket to Paradise that you could easily be taken in by its low-stakes frivolity.
One of Soderbergh’s best films, a classic of the American crime film genre, is afforded a beautifully visceral transfer.
George Clooney’s film is a coming-of-age story that feels as if it was conceived inside of a lab.
George Clooney’s film is a plodding and deeply unsatisfying genre exercise.
The film uses endangered press freedom in the Philippines to illustrate the threat posed to liberal democracy by weaponized social media.
Hulu’s adaptation of Joseph Heller’s novel invites our laughter, contemplation, and shock in equal measure.
Everyone in George Clooney’s film is a bastard, worthy of being shot, stabbed, blown up, or poisoned with lye.
Suburbicon sees a bunch of candidly left-leaning movie stars doing their best to out-awful each other.
The Coen brothers’ sardonic revisionism of Hollywood’s golden era is, ironically, their most earnest feature.
Jodie Foster manages the interlocking tones of outrage with an unfailing rhythm and an engagingly casual cynicism.
Joel and Ethan Coen’s idiosyncrasies elevate Hail, Caesar! above the level of a mere creative exercise.
In the film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.
Adam West and Burt Ward are antipodal to every subsequent incarnation of Batman and Robin. The dynamic duo are blithe fuddy duddies turned billionaire scions in spandex.
Cuarón’s visually dazzling tale of survival in space gets the royal treatment from Warner.
Fantastic Mr. Fox is one of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams.
George Clooney’s film boils a big, messy maelstrom of theft and uncertainty down to a digestible, faintly appetizing mush.
The departure of a new Martin Scorsese/Leonardo DiCaprio vehicle surely meant another equally high-profile or even several smaller-profile releases would be flocking to the date.
This is a film that most would agree boasts a whole lot of locks and scant few question marks.
So, Contagion is the reigning champion—at least, until Alfonso Cuarón’s Gravity opens in IMAX 3D this Friday, the first AHB to open in the two-plus years since.