The series allows us to get comfortable in the familiar rhythms of a detective show just so it can then completely wrongfoot us.
The four Star Trek: TNG films receive best-to-date video presentations.
Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
The extras on this edition of Jurassic World: Fallen Kingdom feel almost as dully prescribed as the film itself.
Throughout the film, director J.A. Bayona draws on the childlike fear of things that go bump in the night.
Marshall arguably intends for societal 20/20 hindsight to provide the bulk of perspective throughout.
Romeo Is Bleeding projects an aura of obsessive self-consciousness that occasionally suggests the superior film that eluded its creators.
Big Hero 6 is an enjoyable, ambitious film that seems awkwardly stuffed into a rigid, familiar mold.
As far as films about couples dealing with the female partner losing her mind go, Still Mine is pretty pedestrian.
This is a story of the downtrodden, the “freaks,” and those who don’t belong must figure out how to survive.
Haters gonna hate, but as Sony’s excellent Blu-ray proves, The Artist keeps on charming through the backlash.
The film is an earnest dark-night-of-the-soul slog whose guilt-purging destination is far too long in coming for 80 minutes.
“The most corrupt cop you’ve ever seen on screen,” reads the tagline on Rampart’s poster. These badge-defilers would beg to differ.
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
The Artist is scarcely a patch on what Guy Maddin can do on a bad day.
With The Artist, Michel Hazanavicius stretches a feather-light gimmick to feature-length.
Watching Secretariat is an experience as antithetical to watching an actual horse race as it gets.
If you like crane shots and hyper-saturated cinematography, but don’t care much about bonus features, this surrogate’s for you.
Jonathan Mostow succeeds only in delivering an action film that’s as artificial as its subjects.
Dark scenes lack definition on this widescreen edition of Stone’s W.