Incredibles 2 primarily concerns male anxiety about women taking over traditionally masculine roles.
Katherine Dieckmann’s film is beholden to a studiously weird narrative that’s governed by formula screenwriting.
The film is always at least gut-rumbling and keeps its humor in situations that are morose and awkward.
Terrence Malick’s Song to Song is about floating along on currents of uncertain desire and excitement.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.
An origin story, apologia, and harbinger of a second expanded universe of overpopulated action bonanzas.
David Gordon Green stages even fleeting tonal palate cleansers with a self-consciousness that parallels Al Pacino’s acting.
In David Gordon Green’s Manglehorn, Al Pacino turns in his third performance of the last year as a man in the grips of a post-midlife crisis.
Theodore Melfi’s debut feature, St. Vincent, is a heartwarmer that never insults.
The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can’t come up with anything more compelling to place in its stead.
The great expanse of time and episodic nature that partially defines the series format allows Campion to work at once ambitiously and confidently.
Only marginally noteworthy in the Coens’ canon, but the stunning 1080p transfer makes a case for repeat viewings on its aesthetic heft alone.
The characters are treated with all the sympathy of amoebas seen through a microscope, and are less important than the sensations they pursue.
Attempting to flip the stolid conventions of the overly abused romantic comedy genre is a noble gesture, but Little Black Book is proof positive that the path to hell is paved with good intentions.