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.