After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
It’s a hollow tale of vengeance led by a protagonist whose mainly defined by his tendency toward martyrdom.
Mel Gibson’s Hacksaw Ridge delivers action that’s at once gross, rousingly virtuosic, and implicitly endorsed by its messianistic hero.
The frequent contemptuousness the film displays toward its characters keeps the audience at arm’s length.
The film operates as if under the presumption that the sketchiness of its various insights will be smoothed over.
Most affecting in its depiction of friendship, and the performances represent platonic male intimacy in convincing, often moving ways.
A top-shelf presentation of one of last year’s baggiest, most unnecessary films.
The krill subplot is even thinner than the penguins’, to the point where it scarcely has any reason to exist.
Joe Johnston’s rendering of Marvel’s Captain America is brisk and thoroughly entertaining.
A spectacle of star-spangled superheroics, the film gives sturdy big-screen treatment to Marvel’s square-jawed—and square—jingoistic military man.
The filtering aspect of a filmmaker’s strong personality has the redeeming power that committee-obedient, impersonal filmmakers can never hope to acquire.