Eytan Fox’s film is a low-key observance of two men finding the beauty in each other’s mysteries and contradictions.
The Inheritance’s attempt to speak for everyone muddies its ability to speak clearly to anyone.
Here, Mapplethorpe is just another tormented queer destroyed by his tendencies toward vice.
Forever My Girl makes one wonder if Bethany Ashton Wolf actually thinks this is what true love is like.
Scott Cooper’s film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
The Big C has never really been a show about cancer, but rather one whose story takes place in the context of the disease.
The show’s powerfully invasive aesthetic conveys the idea of our moral and political consciousness struggling to free itself from inaction.
Ultimately, at least in the first few episodes, cancer serves as a handy device to transform an uptight suburban woman into a free spirit.
Dialogue is a blunt-force trauma in Helen Hunt’s directorial debut.
What’s the fun of being a seeker if you don’t actually get to do any seeking?
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements is almost unrivaled.
Infamous has gotten nowhere near the level of acclaim as Capote, proving that victims of hype don’t come more transparent than AMPAS.
Clint Eastwood’s creaky history-class lecture Flags of Our Fathers makes the nature of heroism its primary point of concern.
The film does Truman Capote justice and makes a sharp case for the power and destructiveness of liberated feelings.