Nearly everything in Wonka is served up with an intoxicating effervescence.
The Looney Tunes-esque joy with which the film delivers its parodies is infectious.
In the film, the power of the movies is an afterthought to more romantic and socially oriented concerns.
The film’s depiction of an era of rigid class divisions and incalculable loss comes through the hazy, soft-focus goggles of nostalgia.
Landscapers is a tragicomic story that’s more concerned with its insular couple than the motivations of their crimes.
For a while, though, Olivia Colman’s performance carries the film, with little narrative distraction or stylistic conspicuousness.
The film celebrates individuality even as it suggests that everyone needs their own A.I. tech to validate everything they like and think.
While the film certainly lays out the dangers of technology run amok, it also sees its power to connect people.
The Father approximates the dislocation of its main character’s mind with a frighteningly slippery ease.
The series homes in on the growing chasm between royal expectations and public norms.
Unfortunately, the care with which the filmmakers set up Them That Follow’s context and their characters crumbles in the final act.
Despite a more straightforward approach, the series still boasts Phoebe Waller-Bridge’s unmistakable voice.
Sometimes it’s important to just step back and pay your respects to a remarkable actress.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.
The latest from Yorgos Lanthimos, The Favourite, takes us to the early 18th century, when England and France are at war.
The film’s biggest liberty is to make Poirot’s ultimate decision more palatable for American sensibilities.
As intelligent, often hilarious, and occasionally insightful as it is, it aslo shows a filmmaker’s style hardening into shtick.
Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
The literalizing of Ivan Locke’s hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.