Slumberland lacks the sense of danger that Winsor McCay liberally infused into his stories.
Super Pumped: The Battle for Uber is awkwardly split between a broader look at Uber and a bog-standard rise-and-fall narrative.
Paramount’s UHD release renders the film’s sensory overload in its fullest expression.
Star Wars: Visions refreshes the Star Wars universe with an eclectic range of styles and tones and a subversive streak.
Godzilla vs. Kong receives a robust ultra-high-def release from Warner Bros. Home Entertainment.
Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
George Clooney’s film is a plodding and deeply unsatisfying genre exercise.
The film is frustrating in the end for reaffirming the traditional blockbuster’s allegiance to human perseverance.
Hulu’s adaptation of Joseph Heller’s novel invites our laughter, contemplation, and shock in equal measure.
The film’s satisfyingly tactile action set pieces serve to hammer home just how perilous the space race really was.
Director Shawn Christensen’s film maddeningly over-complicates each of its numerous storylines.
Mark Perez’s screenplay maintains just enough plausibility to prevent the film from veering into sheer absurdity.
Kenneth Lonergan is keen to frustrate the therapeutic trajectory of Manchester by the Sea’s premise.
The dialogue is at once easygoing in its candor and rigidly on-message about the corrosive nature of lies.
This adaptation attunes itself expertly to the very real dangers staring back at Carol and Therese.
Carol slots into Haynes’s filmography like a wintry, understated cousin to Far from Heaven.
Bloodline is full of gifted actors, but Ben Mendelsohn walks away with it, largely because of his uniquely poignant sleaze-ball charisma.
Sensation aims to glide over where hollow, platitudinous words themselves fail in The Wolf of Wall Street.
Given the film’s early promise, it’s unfortunate how it turns into a largely reductive Freudian character piece in which the main character has to come to terms with his old man.
The brash, rise-and-fall stock-market satire seems to boast more comedy than the filmmaker’s typical hard-hitting drama.