Kenneth Branagh’s third Agatha Christie adaptation is a dusty, dry, and sluggish affair.
For a film so interested in the public’s malleability, The Take isn’t particularly good at controlling its own audience.
True Detective’s first season had a methodical and measured approach to tracking its villain, but this season doesn’t know when to stop changing things up.
This is an irritating table-setting episode in which the characters constantly explain how the pieces fit together.
Everything you need to know about the inconsistencies of the show can be summed up by the two standoffs that occur in this episode.
All the central characters have moments here in which they, for all intents and purposes, might well be dead.
There’s an engaging trashiness to season two of True Detective, but the overall production feels overbearingly self-serious.
At least it doesn’t make the mistake of attempting to check off every moment of a man’s life over the course of a few hours.
One may feel mildly insulted by the presumptuous attitude the film seems to choose as it sends us on our way.
Cédric Klapisch’s film becomes an effervescent variation on the time-honored story of striking out for the American dream.
Heaven Is for Real is by Christians, for Christians, and deliberately, if subtly, antagonistic toward everyone else.
Content to faithfully hew to convention, the film rarely surprises, but its portrait of foolishness and fallibility, and its atmosphere of inevitable doom, remain sturdy and captivating.
Though it’s hampered by some formulaic touches, Flight is one unique, audacious studio movie.
That Flight happily dwells within conventional boundaries can be frustrating given the raw and affecting potential of the material.
An oddball blockbuster that gets better when it gets to be “too much.” As for Warner’s handsomely mounted Blu-ray, less is more.
Citizen Gangster’s commentary on our fascination with law-breakers is virtually nonexistent.
This is a disappointing DVD package of Ritchie’s slick but giddily inspired Sherlock Holmes reboot
Pop culture’s most enduring sleuth gets a welcome, modernized makeover in Guy Ritchie’s Sherlock Holmes.
The film’s pleasures are to be found almost entirely in the meticulously recreated period design.
Cédric Klapisch’s shallow stylistic ticks preclude identifiable emotional or behavioral reality.