By the end, Cervantes’s heroes are at last free to move beyond representative confinement and finally speak freely as equals.
Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
The battle of wills between Lavrentiy Beria and Nikita Khrushchev propels the film’s most pointed satire.
The film finally seems conspicuously at odds with itself, neither funny nor impassioned enough to pass as an accomplished vision of transnational welfare.
While female filmmakers might be in short supply at the festival, female subjects initially seem common.
In straining for the profound, it loses its way in a veritable no-man’s land of ill-conceived stylistic choices and narrative switchbacks.
With Knight of Cups, Terrence Malick achieves the sense of stylistic ossification that many accused his last feature, To the Wonder, of embodying.
Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
Terrence Malick gets swept up in a bad love affair in picturesque Oklahoma and Magnolia does more than well by the visual and auditory splendor of the director’s strangely ferocious sixth feature.
Seldom pushes beyond the bare-minimum dictates of the thriller, only rarely offering up a memorable action sequence.
Absent of any sense of self-awareness, Oblivion seems only self-serious, a ponderous mess both misguided and unaware.
Throughout Malick’s film, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
Can Malick’s dream-like film grammar resonate when set in the modern world?