The film is too narrow-minded to explore the notion that a saint-like man may want to satisfy his normal carnal desires.
The film is so economical in its momentum, and its tone of comic wistfulness so uniform, that its string of tableaux rarely feels jerky.
Viewed charitably, its sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
Upgrade serves up its cautionary tale with a schlocky blend of dark humor, breakneck action, and unsettling body horror.
Unwittingly perhaps, Sand Castle reveals itself as a microcosm of America’s foreign policy in the Middle East.
It depicts Snowden’s ethical dilemmas in a political vacuum that disregards America’s complex security threats.
Cinemax’s Quarry suffers from a sense of prescribed and stiflingly tangible heaviness.
A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting.
Tze Chun’s film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
James Franco’s readiness in approaching famously abstract source material certainly doesn’t translate well into his directorial formalism, or, more appropriately, lack of formalism.
Prometheus pesters its audience into deferring to its thin profundities.
Nothing could have prepared me for Rapp’s chilling, unrelentingly committed glimpse into dystopia with Nursing.
Traveler is a lot of fun, but it exposes one of television’s weaknesses as a medium.