Cyrano will make you wish that Joe Wright had been more interested in the material at the center of his house of flourishes.
The Woman in the Window never manages to transcend the impression that it’s merely being clever.
Joe Wright’s Darkest Hour reinforces only the most simplistic and patriotic vision of Winston Churchill.
Bad reviews will hurt Pan, but they won’t sink it; Warner Bros.’s uninspired $150 million investment and ho-hum marketing will.
Joe Wright’s film could fuel an entire series of incredulous episodes of the How Did This Get Made? podcast.
The ultimate takeaway here is that predicting this category is a total crapshoot—that, or we don’t know shit.
It bears mentioning that one of the two times we’ve gotten this category wrong was when we disregarded the almost always reliable frilliest-always-wins rule.
Typically, there’s at least one Oscar-nominated score that stands out as unique, with memorable flourishes that push it ahead as the frontrunner.
Just as we’d expect from the Academy, there’s no shortage of lushness on display in this year’s nominees for best cinematography.
Every time I consider this category, the voice of The Chipmunk Adventure’s Miss Miller pops into my head, singing, “C’mon a my house, my house a c’mon.”
Any major-race hopes that Focus Features may have had for the film were basically dashed this week.
How to sell a Keira Knightley period romance and still distinguish it from every other Keira Knightley period romance?
Anna Karenina marks the 40-year-old Brit’s third pairing with Keira Knightley, and it’s arguably his boldest work to date.
Joe Wright crafts an engrossing, literate film, treading water even under the weight of its director’s misguided ambitions.
How to sell a Keira Knightley period romance and still distinguish it from every other Keira Knightley period romance?
The film is sure to deliver a whopping sugar rush, as well as the inevitably sour letdown.
The visually stupefying but unfeeling Hanna may be seen as Joe Wright’s live-action version of Disney’s The Little Mermaid.
From the fidgety lead performances to the seemingly Ron Howard-inspired aesthetic, it’s rife with bad choices.
The Soloist is a crude fiasco that trivializes the very values it allegedly enshrines.
Joe Wright is prone to frustrating tendencies that are ascendant in The Soloist.