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.
When its tone slides firmly back into the murk, it’s hard not to see DC’s notion of heroism as borderline nihilistic.
It ends up with blurry action that often looks digitally faked and a fractious plot that’s stuck over-explaining itself.
The film is simultaneously exhilarating, gorgeous, and tedious, operating as a weird fusion of auteur project and craven franchise start-up.
The film’s notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
An origin story, apologia, and harbinger of a second expanded universe of overpopulated action bonanzas.
The film is a complication-smoothing take on Jesse Owens’s elegant riposte to Hitler’s racism at the 1936 Olympics.
Criterion’s new 2K Blu-ray adeptly demonstrates why Karel Reisz’s The French Lieutenant’s Woman is ready for its (redux) close-up.
Bille August’s film is a protracted, soporific trip into Portuguese history that would like to be a romantic thriller.
Like your buzzworthy British stars and venerable greats in the same place?
A frothy mixture of costume drama and soap opera, Neil Jordan’s show brandishes moral outrage and a blunt understanding of politics.
In terms of demographics, Dario Argento is clearly intended as a text for both newcomers and knowledgeable fans alike.
Strange as it may sound, the absence of melodrama is the film’s greatest strength.
J.C. Chandor is able to mine potent workplace drama, and pluck tender nerves that are widespread among the current populace.
In The Lion King, spectacle dominates meaning to frequently reductive effect.