The film is at once a journey of self-actualization and a testament to female solidarity.
The film rarely articulates the book’s ideas with any real sense of the outside world without resorting to easy exaggerations.
Criterion’s release of Noah Baumbach’s latest is built to last.
One of the realities of the Oscar race is that you never want to peak too early.
Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
Noah Baumbach’s The Meyerowitz Stories is a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.
The film feels lived-in despite its glaringly mannered dialogue and charmingly eccentric characterizations.
Noah Baumbach’s breakthrough still looks like his sharpest, most personally inflected work.
The happiest surprise of De Palma resides in its tacit understanding of its subject as a person, subtly and casually demystifying the filmmaking process.
It’s both the most concentrated and antic film in Noah Baumbach’s unofficial New York trilogy.
The filmmaker discusses While We’re Young’s documentary style and the search for truth not only in his own art, but also within himself.
Baumbach lobs jokes a Sturgesian velocity, but much of this cross-generational comedy is frantic and wearisomely superficial.
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.
The film is a return to form for its director, and the first truly satisfying vehicle for its star.
The film feels like too perfect a portrait of quarter-life malady.
Frances Ha feels like an unusually intimate, personal piece, a return to Noah Baumbach’s early, more naïvely optimistic phase.
Madagascar 3: Europe’s Most Wanted is low on character development, relying on flimsy, time-honored narrative arcs that audiences barely even notice anymore.
Milo Burke’s America isn’t in the throes of environmental or theocratic chaos, just a long, slow slide into mediocrity.
It’s getting harder for fictional characters to do something so outrageous that we can’t empathize with them.