Most of the film’s great moments belong in Matthew Porterfield’s traditional observational wheelhouse.
Matthew Porterfield’s Sollers Point conveys the limitations of freedom within towns like the one at its center.
Woody Allen’s Wonder Wheel feels as artificial and unsatisfying as the cotton candy twirling in a vending cart.
The episode divides its time between domestic drama, overarching mythology, and seriocomic pop surrealism.
As of the latest episode of Twin Peaks: The Return suggests, the darkness seems to be winning.
Gonzalo López-Gallego’s direction isn’t confident enough to allow us to ignore The Hollow Point’s contrivances.
Courtney Hunt’s film ultimately plays as little more than the cinematic equivalent of a trashy airport novel.