Villeneuve’s film is a milestone of precision craftsmanship on a gargantuan scale.
For all of its talk about pushing boundaries, the film seems content to remain in the past.
In the end, Fernando León de Aranoa’s film suggests that there may not be a lot of daylight between a good boss and a true villain.
Denis Villeneuve’s gets a 4K release that, with its crystal-clear images and boisterous soundtrack, makes the most of the UHD format.
Like all Sorkin-penned characters, this film’s version of Lucille Ball is a mouthpiece for his brand of smarmy, know-it-all sarcasm.
Dune Review: Denis Villeneuve Epic Collapses Under the Weight of Its Self-Seriousness
Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
The Oscar-winning actor discusses working with Asghar Farhadi and his thoughts on guilt, the power of fatherhood, and more.
The film dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
Everybody Knows rests a bit awkwardly between an emotionally complex melodrama and a shallow genre film.
The film is a riot of religious symbolism, of-the-moment socio-political valences, and references to Darren Aronofsky’s work.
Its shameful exploitation of Africans doesn’t stop with the privileging of the love affair between two white doctors.
Depp’s perfunctory gestures and flailing pratfalls befit a film that brings the series’s theme-park roots full circle.
The lack of visual ingenuity, reflexivity, or awareness of genre tropes diminishes the pleasures of the action’s involving kineticism.
The film doesn’t temper enough of Cormac McCarthy’s excesses, but Ridley Scott and his ensemble find enough meat in the scenario to make for diverting, bloody pleasure.
The entirety of the marketing for The Counselor suffers from what I’m calling “prestige-film fallacy.”
Magnolia does more than well by the visual and auditory splendor of Malick’s strangely ferocious sixth feature.
Throughout Malick’s film, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
With all due respect to the gentlemen in contention, this year’s likely Supporting Actor crop has shaped up to be a snooze.
The film’s strongest bit of buzz has been swirling around the lead performance from Naomi Watts, whose tortured turn as the quintet’s mother hen has made her a Best Actress frontrunner.