Christopher Nolan’s film willfully and startlingly dispenses with the plodding routines of the average biopic.
Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
The series transforms a story that captured something of the experience of war into a familiar melodrama.
The metronomic precision of director Christopher Nolan’s cinema is foregrounded in Dunkirk.
This is the kind of filmmaking that gets touted as “workmanlike” when it’s really straight-laced to the point of tepidness.
Another series devoted to brilliantly tormented killers and the brilliantly tormented master investigators pursuing them.
Warner Home Vidoe does good by Cloud Atlas’s technical skill.
If you’ve ever seen Psycho, or even if you know anything at all about the film, Hitchcock would like to congratulate you on your savvy.
At this stage, the alternately thrilling and unwieldy three-hour epic is the season’s closest thing to a wild card.
Cloud Atlas is a rare film that’s greater than the sum of its often innocuous parts.
W.E. is all about shameless visual pleasure, but not of the kind Laura Mulvey warned us back in the day.
Unwieldiness seems to follow Madonna’s W.E. wherever it goes.
Class envy leads to Funny Games-ish home invasion in In Their Skin.
An American Haunting takes the spurious “based on real events” claim to new extremes.
Can someone please put Renny Harlin out of his misery.
Every bit as self-referential as Storytelling, the smug dot the i is only too happy to fuck with your mind.
Renny Harlin’s lemon does its damndest to heap more dirt on the franchise’s grave.
The narrative is competent but Master and Commander looks and sounds unlike any film you’re likely to ever see.
This ambitious seafaring epic almost holds its rickety hull together thanks to Russell Crowe’s intense, broad-shouldered star power.