The supernatural can’t enliven a series that meanders through its first five episodes.
It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.
Although its crime-caper structure is worn extremely lightly, Kajillionaire represents Miranda July’s first real flirtation with genre.
The series never shies away from the pleasures and perversities of incipient sexuality.
The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman.
The film is content to paint Mexico as a morass of poverty, decay, and turbulence that exists in a moral void.
Smallfoot is ballsy for pushing young viewers to question culturally coded notions of good and evil.
Paramount’s Blu-ray, which is most notable for its reference-level soundtrack, stays true to the film’s mutative beauty.
Alex Garland’s film gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
Any potential subtext of Munro Leaf’s children’s book has been bleached out in the marketplace-oriented Ferdinand.
Director Timothy Reckart’s The Star turns the greatest story ever told into just another kids’ movie.
It pulls back from the effectiveness of its macro view of hell on earth to focus narrowly on Mike Williams’s heroism.
Filly Brown plays out like a caricature of every stereotypical Sundance drama about plucky young heroines who overcome great adversity.