The Dig clearly relishes in having found so many fascinating real people arriving at one place at once.
The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
The film curiously avoids exploring the complexities of introducing the Beatles’s music into a radically different milieu.
Nia DaCosta indulges one of rural quasi-thriller’s most tiresome gambits: humorlessness as a mark of high seriousness.
Joe Wright’s Darkest Hour reinforces only the most simplistic and patriotic vision of Winston Churchill.
The technical sophistication of Edgar Wright’s artistry reaches new heights with this heist-cum-musical.
David Leveaux’s film cannily incorporates elements of spycraft and sheer trash into a familiar formula.
The juxtaposition of courtship and violence is the film’s one true coup, but it still mistakes weaponry for agency.
The filmmakers cut the film to emphasize the story’s familiar plot points, rather than highlight any instances of personal visual artistry.
Branagh fully understands the societal critique underlying the tale, and brings it out into the open.
Wrath of the Titans sputters and coughs on the fumes of its own inevitability.