W.E. is all about shameless visual pleasure, but not of the kind Laura Mulvey warned us back in the day.
What you want to know about Drive is that its three big, action set pieces are impressive and exciting.
Drive’s narrative trajectory goes down a long and winding road into hell.
The primary tactic in Snyder’s repertoire is decontextualization.
Zack Snyder offers a peek inside his head, which turns out to be a vomatorium of pop culture’s every geeky element.
Agora is an innocuous epic, a pointless spectacle that champions free-thinking intellectuals over violent zealots.
The film is a marriage made in audience-capitulating hell.
Like last year’s more dim-witted The Kingdom, Ridley Scott’s latest is first and foremost beholden to dull thriller conventions.
The Nativity Story never quite becomes more than efficient religious programming for a built-in audience.
Courtesy of Catherine Hardwicke, the Nativity has become the most boring story ever told.