Cinephiles in sync with the film’s politics may still blanch at how snugly their interests are courted.
The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can’t come up with anything more compelling to place in its stead.
This is the first film year in a long while that’s made me want to applaud Harvey Weinstein.
Sensitively performed and laced with some forceful quotidian grit, Ryan Coogler’s film evades the larger questions behind a scandalous shooting death.
With its Oscar clout and inevitable crowd-pleasing matched by widespread critical ire, the film is easily the year’s most divisive awards contender.
The filmmakers’ attitude toward Kate is chiefly as a victim, but Mary Elizabeth Winstead’s admirable performance suggests so much more than that.
Spike Lee’s film is pitched as a wake-up call.
It’s unavoidable to look at Octavia Spencer’s sunny Oscar odds though the filter of co-star Viola Davis’s ascendance in the Best Actress category.
Which performance will land Jessica Chastain her first Oscar nomination?
A little more than table scraps, including the usual deleted scenes and making-of featurette.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted on screen.
The Help is almost always more successful relating black experience than either white brutality or magnanimity.
Treading well-worn ground to diminishingly creepy returns is a bone-deep problem for Zombie’s latest.
Ryan Reynolds may not be a demigod, much less a full-fledged deity, but he plays one to sterling effect in The Nines.