Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly taking on the status quo.
Paramount’s UHD release renders the film’s sensory overload in its fullest expression.
With the film, Harmony Korine solidifies his position as the premier cartographer of the Sunshine State as a place of unhurried pursuits.
The film is noteworthy for its rumination on the subtle costs of its characters’ newfound prosperity.
The deconstruction of corporatized play culture gets run through the sequelizer machine, with predictably acrid results.
While impressive for its detailed and certainly imaginative world building, Maniac rarely dares to truly confound its audience.
Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
Gus Van Sant’s film is admirably unsexy, and a testament to the comedic potential of going sober.
Still one of the most fun sugar rushes of the year, the film arrives on home video with a shimmering, chromatic video transfer.
The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
Todd Phillips’s film is unrepentantly cynical when it comes to the global business of warmongering.
The Coen brothers’ sardonic revisionism of Hollywood’s golden era is, ironically, their most earnest feature.
Joel and Ethan Coen’s idiosyncrasies elevate Hail, Caesar! above the level of a mere creative exercise.
If its copycat visual artistry illuminates nothing, at least its script is sincerely devoted to probing Finkel and Longo’s odd partnership.
Dean DeBlois’s film has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it’s a tiresome sequel doesn’t save it from being a tiresome sequel.
Appreciation of the film lies, perhaps aptly, in the pieces built on a pillaged foundation.
Our ballot here will look much different from Oscar’s.
Sensation aims to glide over where hollow, platitudinous words themselves fail in The Wolf of Wall Street.
The brash, rise-and-fall stock-market satire seems to boast more comedy than the filmmaker’s typical hard-hitting drama.