The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection at its center.
Paramount Home Entertainment’s UHD discs add to an already impressive 4K roster for Spielberg’s filmography.
Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
The Hit is an enigmatic, existential fable about crime and punishment.
Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
It’s a hollow tale of vengeance led by a protagonist whose mainly defined by his tendency toward martyrdom.
Paddington 2 arrives on home video ready for canonization as a new family-friendly classic.
The film mines its tale of magic for an imaginative allegory about the excesses of scientific inquiry.
Paul King’s Paddington 2 profoundly believes in the harmonizing power of warmth, politeness, and the absurd.
The episode that dials back from the epic confrontations that have filled out the majority of this season.
The episode manages to set up future conflicts without interrupting its rapid pace.
Ritesh Batra’s film is a tale of white nostalgia that should have found its footing on dramatic grounds.
Sharon Maguire’s Bridget Jones’s Baby is less a film than it is a series of needle-drops.
The Legend of Tarzan drags Edgar Rice Burroughs’s century-old pulp into the social perspective of the present day.
It’s more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
The film’s annoying glibness is neatly summarized by the line: “In life, going downhill is an uphill job.”
It’s a timely reminder of the fact that a life is shifted off its axis whenever someone emigrates to a foreign country.
The rambling conversations and endless wandering through nature could let the film pass for a filler episode of Lost.
Much of the category manages to avoid spinning out into its usual twin pitfalls of snark and self-satisfied solemnity.
Jim Broadbent and Lindsay Duncan are an ideal fit for Hanif Kureishi’s bitterly funny, yet surprisingly tender script.