Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
Paddington 2 arrives on home video ready for canonization as a new family-friendly classic.
Paul King’s Paddington 2 profoundly believes in the harmonizing power of warmth, politeness, and the absurd.
By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical.
The only thing that offsets its self-negating revisionism are the scenes involving Gillian Anderson vicereine.
Like J.K. Rowling’s Harry Potter books, The Casual Vacancy is informed with a Dickensian outrage with class inequality.
Criterion’s upgrade of Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
Fantastic Mr. Fox is one of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams.
One of the most accomplished American dramas of the 1990s arrives on Blu-ray sporting a suitably exceptional A/V transfer.
Anyone who’s worked with senior citizens will tell you how vital music is to them, but Quartet fails to capture that vitality.
Go back to the first episode of Luck and you’ll see how much is made of a little goat (known for his giant testicles) that hangs out in Turo’s barn.
Sopranos director Allen Coulter gives us a taste of what the darker Luck many of us had been wishing for might have been like.
There’s no getting around the fact that this week’s episode of Luck was overstuffed with exposition.
After the emotional high points reached in last week’s installment of Luck, it’s only natural that this week’s episode feels a bit like a come-down.
Its sacrifice of narrative cohesion in favor of pushing aesthetic and expressive boundaries has rubbed some fans the wrong way.
Perhaps David Yates recognized that, at this point in the series, addressing the full-scale detail and themes of the story at large would not be feasible
The hokey representations on display here tend not to mesh with the scope of the tournament games.
Alfonso Cuarón’s aesthetic seems perfectly suited to the narrative, which focuses on Harry’s near-despondent state.
David Yates finds limitless opportunity to depict smallness and stillness in chaos and hubbub.