The film is an all-too-fitting whimper of a conclusion to a franchise that never remotely fulfilled its potential.
The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.
Guillermo del Toro’s gothic romance receives a significant packaging upgrade from Arrow Video.
The Tree of Life is the culmination of Malick’s artistry, and Criterion treats it as such with this totemic release.
Susanna White and screenwriter Steven Knight’s white patriarchal guilt is the film’s driving energy and motivation.
Aaron Sorkin deep dives into self-parody from the opening moments of his directorial debut, Molly’s Game.
It imbues a pessimistic view of the seemingly bottomless depths of human cruelty with sorrowful tragic force.
Miss Sloane’s enigmatic nature holds one’s interest throughout, even as it veers into pat moralism.
The overriding despair of Winter’s War’s imagery calls into question who, exactly, the film is for.
Guillermo del Toro’s lavish, tragic romance is his most personal film to date, and this gorgeous Blu-ray reflects its exacting perfectionism.
Crimson Peak is Guillermo del Toro’s fussiest, most compartmentalized construction, filled with the most powerful sense of repression and delusion.
It goes in for the idea of texture, tics, and human behavior, but there’s no conviction, and no real push for eccentricity.
J.C. Chandor’s fondness for situational irony is empowered by the spartan efficiency of his method, and that of most of his performers.
If The Tree of Life was a contemplation of the verities of life, this film is an hour spent scrolling through a stranger’s family album.
Liv Ullmann’s film is no tearjerker, but it makes the stage play’s guessing-game quality on screen without copping to reductivism.
Much like his hero, Christopher Nolan’s goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
A new element in Look of Silence is the view it offers of those who knew murdered victims or who managed to escape death.
The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
Estelle Parsons has always found something interesting to do.