Van Sant’s 1995 satirical black comedy receives a gorgeous video transfer from Criterion.
The series tells a story that might have worked just fine if it weren’t spread across six episodes.
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The film hits its plot milestones as fast as humanly possible, cohesion or depth be damned.
Luhrmann seems less interested in accurately depicting Australia’s ugly past than in creating a national myth.
Amenábar’s film is a work of intoxicating, subtly ominous beauty.
Robert Eggers’s The Northman doesn’t lack for blood and guts, but it doesn’t play enough in the well of the weird.
For a series meant to tackle thorny social issues and gender dynamics, Roar comes across as distressingly slight.
Like all Sorkin-penned characters, this film’s version of Lucille Ball is a mouthpiece for his brand of smarmy, know-it-all sarcasm.
Ryan Murphy’s vibrant film adaptation makes a closer-to-seamless whole of the story’s disparate parts.
The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
Its inquisitiveness gives all the melodramatic incidents more of a charge and a purpose for keeping our attention.
The series works best when it focuses on intimate, human moments rather than on broad social critiques.
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The film becomes overrun by an increasingly preachy and tiresome series of life lessons about race, class, and love.
There’s barely enough substance in Destroyer to support an Aesop’s fable, let alone a Los Angeles crime epic.
Often divertingly colorful and busy to a fault, Aquaman seems to dare us to mock the world of comics’ most risible superhero.
You may admire the construction of certain moments more than you feel them, or Boy Erased as a whole, in your bones.
The film expects us to be compelled by an undercooked love story, and troubled by unexplained cosmic politics.
Golden Exits, the new film by Alex Ross Perry, a favorite of this festival, is an explosion of the director’s aesthetic.
The characters’ emotional vacancy feels like another auteurist tic to which Lanthimos is dauntlessly committed.