The Book of Clarence has an energy that’s largely missing from its influences.
Despite solid performances, the series gets bogged down by turgid pacing and narrative ambiguity.
The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
Fundamentally, the series is about the difficulty of finding contentment in a world that perpetually keeps you on the defensive.
Criterion’s perfect 4K A/V transfer and loaded extras give Uncut Gems the deluxe treatment that it deserves.
The anime series is, at its center, a comforting fairy tale of clear-cut good and evil.
Shaka King’s film, anchored by two sterling lead performances, complicates the expected narrative of martyrdom.
The film is at its best when it’s focused on the euphoria and tribulations of its central couple’s love affair.
In Josh and Benny Safdie’s film, a man’s individual tragedy illuminates the emptiness of the systems that define him.
Rian Johnson’s film revives the comic whodunit, a la Clue, for an era of especially heightened class consciousness.
The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman.
Fede Álvarez’s The Girl in the Spider’s Web suffers from a compulsion to be capital-C cool.
The film is unmistakably alive to the humiliations of the social systems that keep the lower classes in their place.
The film renders a vivid world of drunks and schemers who live marginally on the outskirts of Los Angeles.
Director Joshua Marston’s Come Sunday exists in a vacuum of blandly expositional generality.
The more grounded scenes from Death Note anchor a startlingly bloody fantasy of power run amok.
Stanfield discusses why acting in Get Out was an out-of-body experience, how the internet nurtures creativity, and more.
It suggests a human-interest story where all the humanity has been gutted in favor of deadening narrative efficiency.
Throughout the film, one wishes for a bit more depth regarding Jessica’s professional struggles.
Writer-director David Michôd’s film renders existential crises of American entitlement dull and tedious.