Coen’s film knows when to pay homage and when to move to its own rhythm.
The film again proves that Lanthimos is a skilled director of blunt strangeness and surreality.
This is a theatrical story told in a purposefully and self-consciously theatrical manner.
Qualley, Alwyn, and Denis discuss how the pandemic affected the production, and why trust underscores all elements of the film.
In Claire Denis’s film, sex is the great equalizer, or at least the act that allows people to defer taking a firm moral or ethical stance.
The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
The film is Quentin Tarantino’s magnum opus, a sweeping statement on an entire generation of American popular culture.
Once an accidental act of violence sends the main character’s life into a spiral, the film unfortunately spirals with him.
The film knots several strands of new-millennium despair into something that very nearly approximates greatness in its first half.
Director Shawn Christensen’s film maddeningly over-complicates each of its numerous storylines.
The vacillating nature of Melissa Leo’s Mother Reverend is characteristic of Margaret Betts’s Novitiate as a whole.
The more grounded scenes from Death Note anchor a startlingly bloody fantasy of power run amok.
Shane Black’s film doesn’t want for great exchanges, and even disposable conversations brim with acidic wit.
The season finale features a series of reckonings, not all of them as satisfying as one might have hoped.
“Cairo” sees the residents of Mapleton tested in the same way God tested Abraham, and more than a few are found wanting.
It pauses to establish the constellation of conflicts driving the first season of The Leftovers to its conclusion.
An enthralling portrait of what happens when the urge to move on collides with the persistence of grief.
Compared to “Pilot,” “Penguins One, Us Zero” is more focused, but the ambivalence it provokes remains the same.
In the beginning, at least, The Leftovers sounds familiar.