The film brushes up against a greater truth about how men and women move through the world.
The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.
The film’s threads of personal loss and cultural friction are all but lost amid the tawdry romantic entanglements.
The Nutcracker and the Four Realms is the latest in a long line of fantastical, unwieldy takes on classic fairy tales.
Wash Westmoreland’s acutely told film relishes the messy details and ambivalences of Colette’s life.
Depp’s perfunctory gestures and flailing pratfalls befit a film that brings the series’s theme-park roots full circle.
David Frankel’s film argues that the power of miracles can be manufactured by those who can fund them.
Baltasar Kormákur’s film is a tasteful, sweeping, carefully balanced reconciliation between the irrefutable authority of nature and mankind’s innate need to circumvent it.
In dreams, too, Laura Dern wouldn’t also be passing through.
The film refuses to penetrate Turing’s carnality and allow Cumberbatch to truly wrestle with the torment of the man’s sexuality.
To Keira Knightley’s credit, she’s all too willing to undercut her pretty-girl reputation by looking and acting a fool for Lynn Shelton’s camera.
Lynn Shelton’s film feels as rehashed as Dan Gilroy’s Nightcrawler, albeit to entirely pleasant results.
This is a film that lives in the high and not in the comedown, even though its characters are often stalled and wallowing.
Paramount’s Blu-ray has both brawn and brains, but as a reboot, Jack Ryan: Shadow Recruit is a largely retrograde mission.
In keeping his actors on his sober-yet-buoyant plane, Kenneth Branagh presents a convincing romance that doesn’t stall the film’s brisk clip.
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.
Compared to most of the season’s races, Best Actress has remained somewhat open.
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?