Throughout, the film tirelessly hammers home the point of being true to yourself.
Chandor turns an intensely physical narrative into another of his inadvertently generic studies of procedure.
At Eternity’s Gate is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise.
Life Itself revels in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
The film never manages to reconcile the enormity of the Holocaust with how ordinary a bureaucrat Eichmann was.
Paramount’s Blu-ray, which is most notable for its reference-level soundtrack, stays true to the film’s mutative beauty.
Alex Garland’s film gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
The Last Jedi is largely content to further the themes and narrative strategies of J.J. Abrams’s predecessor.
Everyone in George Clooney’s film is a bastard, worthy of being shot, stabbed, blown up, or poisoned with lye.
Suburbicon sees a bunch of candidly left-leaning movie stars doing their best to out-awful each other.
The Promise simply turns this historical tragedy into mere background noise for a flimsy romantic triangle.
The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.
It has all the charm of the best entries in the Star Wars series, and it arrives on a pristine Blu-ray primed to delight the next generation of fans.
Criterion’s heavyweight disc is a major release for the label that may pass through the market square without much fanfare.
It offers audiences a bundle of fetishes dressed up as an existentialist thriller about the class system.
The film exists less as a meaningful extension of its world than as a fan-service deployment device.
The show is torn between Paul Haggis’s love of melodrama and David Simon’s fascination with the social governance.
Alex Garland, unlike George Lucas, may not be in the business of selling us toys, but his itemizing of ideas has an equally dumbing-down effect.
J.C. Chandor’s fondness for situational irony is empowered by the spartan efficiency of his method, and that of most of his performers.
Hossein Amini’s sequences are engineered for narrative efficiency, often at the expense of thematic or affectual aims