Kelly Macdonald is a master of understated vulnerability, but she can’t steer the film out of the doldrums.
The Dinner is shrilly, luridly, dully, and unremittingly ugly, preaching to a choir that it also demonizes.
Junction 48 is animated by a sense of righteous indignation that carries the film through its missteps.
In The Dinner, writer-director Oren Moverman wastes no time in establishing a tone of grandiose scabrousness.
The film’s script, by Oren Moverman and Michael A. Lerner, is slavishly adherent to biopic formula and clunky affirmations of Brian Wilson’s legacy.
The indie-movie artiness of Oren Moverman’s Time Out of Mind sometimes get in the way of its noble mission.
John Pogue orchestrates the film’s consistently chilly unease from a series of unassuming jolts embedded in the humdrum.
On the phone from L.A., the writer-director chatted with Slant about his experience making Rampart.
If Robert Altman had made a cop drama, it might have looked and sounded like Rampart.
The cumulative effect of these episodes is undoubtedly a searing reminder of the most inevitable outcome of war.
This expertly executed but hollow exercise in imaginative biography reveals next to nothing about Bob Dylan.
Married Life is only interested in its own ironic machinations.
Motivations are constantly being re-examined in the film, though Ira Sachs never privileges one point of view over another.