Red Sparrow never gives fateful or conspicuous weight to all the breadcrumbs that point toward its long game.
Last night during the Golden Globe Awards, 20th Century Fox premiered a new trailer for the spy thriller Red Sparrow.
The film is a riot of religious symbolism, of-the-moment socio-political valences, and references that attempts to unite themes from nearly all of Darren Aronofsky’s work.
Monogamy, Passengers suggests, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.
Brie Larson, in Room, fights back tooth and claw from the brink just as much as the frontrunner in the Oscar race for best actor.
Writer-director David O. Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
By retaining so much of the book’s plot, the movies fail to offer anything of real interest or challenge to those going into the final installment knowing how it ends.
The film can’t reconcile Ron Rash’s apocalyptic tenderness with its own eagerness to revel in romantic star allure.
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