There are no real supplements on this disc, but Eastwood’s eccentric and moving film speaks quite well for itself.
The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
One of the finest, most distinctive Marvel productions yet gets an expectedly sterling home-video release.
The film is committed to the idea that heroism isn’t a burden but an uplifting realization of our best qualities.
A Wrinkle in Time’s by and large cramped worlds never look like anything other than animated projections.
12 Strong inevitably proceeds as a jaunty imperial adventure through the wilds of northern Afghanistan.
It suggests four episodes of My Little Pony: Friendship Is Magic smushed together with a Sia music video tacked on at the end.
Its cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
The film is in love with the tropes it ridicules, and it doesn’t take long for that love to dwarf any possibility of critique.
David Frankel’s film argues that the power of miracles can be manufactured by those who can fund them.
The film goes in for the idea of texture, tics, and human behavior, but there’s no conviction, and no real push for eccentricity.
Like technological innovation itself, Mark Neveldine’s film seems overwhelmed by the reach of all its techo-cultural parts.
The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview.
By turns abrasive and stately, sermonic and impartial, plot-heavy and meandering, often within seconds of each other.
Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story’s text.
The film manages to implicitly convey the overdriven, coked-up confusion that many ’70s period pieces make painfully overt.
As a film about social issues, and simply being yourself, it’s commendably progressive, going so far as serving as a kind of coming-out story.
Gangster Squad is a perfect example of Hollywood hypocrisy.
End of Watch is pure frat-boy fantasy, the video game to Southland’s great American novel.
The film blows the opportunity to express something meaningful about current events.