The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
Mark Perez’s screenplay maintains just enough plausibility to prevent the film from veering into sheer absurdity.
Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
Doug Liman’s American Made largely eschews any sense of verisimilitude in favor of wacky comedy bits.
The film is at its sharpest when Chris Kelly hands scenes over to his main character’s family and friends.
The Program is flashier and more self-conscious than many biopics, but it’s ultimately just as hollow.
A grippingly expressive espionage yarn, another exemplary entry in Steven Spielberg’s late-career period, receives a top-tier, must-buy transfer.
The film is a lightly dramatized case file that’s structurally averse to world-building and psychological portraiture.
Breaking Bad’s series finale, “Felina,” fulfills the implications of last week’s “Granite State.”