Can Malick’s dream-like film grammar resonate when set in the modern world?
If there’s any import to Lawless, it’s in the visual inversion of small-town myths.
Madagascar 3: Europe’s Most Wanted is low on character development, relying on flimsy, time-honored narrative arcs that audiences barely even notice anymore.
A savage action movie that somehow manages to preserve the heart of the Bard's work while reducing his words to devastating shards.
Hillcoat’s latest cements the mainstreaming of an original.
It’s unavoidable to look at Octavia Spencer’s sunny Oscar odds though the filter of co-star Viola Davis’s ascendance in the Best Actress
Nichols’s haunting Take Shelter gets a fantastic Blu-ray transfer, rounded out with some satisfying special features.
Texas Killing Fields is just another dull, morally mixed-up serial-killer movie.
Which performance will land Jessica Chastain her first Oscar nomination?
Few would argue against The Tree of Life being one of the very best films of the year, but it remains the
A little more than table scraps, including the usual deleted scenes and making-of featurette.
This adaptation of the Bard’s tragedy is contemporized via Paul Greengrass-esque faux-doc aesthetics.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted
Terrence Malick’s The Tree of Life seems certain to remain the most audacious, abstract, and ambiguous American film released this year.
The atmosphere of Ami Canaan Mann’s film suggests drowning in quicksand.
It keeps the audience filled with an active, dreadful fear of seeing a good man destroyed by a cursed fate.
The film avoids grappling with its chosen political and personal themes via plotting that eschews ethical complexity.
The Help is almost always more successful relating black experience than either white brutality or magnanimity.
Terrence Malick’s fifth film hadn’t crawled beyond Cannes, New York or Los Angeles before speculation intensified about the director’s future projects.
Life, Above All feels more like a lecture about a problem than a window into a world.