The film asks us to sit on a knife’s edge, where the threat of violence is constant.
Inventing Anna suffers from a few meandering detours but succeeds in its goal of elevating its central figure.
The film is designed so that we feel as starved for rudimentary human emotion as its main character.
The show’s fundamental goal isn’t to present love that’s unique to the current moment, but to expose the universality of its stories.
Scene after scene transpires as a discussion about togetherness—as eternal ideal and currency.
The episode feels less like a continuation of this season’s efforts up to this point than a tangent.
Having been told so many lies, Paige has now become the teller, her parents’ child after all.
Paul Weitz’s proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
The second half of “Born Again” features a number of tautly composed images that jostle against each other as if conflicting emotions.
“Salang Pass” deploys its constellation of ruses and false identities to examine the question at the heart of The Americans.
Professionals in the art of reading people are most vulnerable to misapprehension when their judgment is clouded by the personal.
Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.
Rebecca Thomas’s debut feature is a sensible and humane exploration of youthful curiosity.
Scenes of solemn importance drag on to the point of self-parody in an attempt at establishing mood, while dialogue reeks of connect-the-dots spoonfeeding.
Not Fade Away subsumes the viewer in the tidal pool of David Chase’s memories.