The film reinforces the idea that it’s the job of those with disabilities to inspire the jerks of the word to be nicer.
Heavy on training montages and intergenerational torch passing, Cars 3 is an old-fashioned sports film at heart.
Jared Hess’s film turns out to be a succession of failed jokes punctuated by a few cathartic laughs.
The film is frequently guilty of the same obsolescence it accuses the characters of embodying.
The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
Familiar as its art/life paralleling may be, it’s all fueled by a filmmaker with an intimate relationship to his subject matter.
Warner’s gorgeous Blu-ray preserves Paul Thomas Anderson’s Pynchon adaptation as the director’s anti-Magnolia.
This third and supposedly final edition in the franchise is nothing more than an uncomfortably transparent contractual obligation.
The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice.
No cartoon has ever conveyed the struggle for self-actualization with such an inexpressive sense of imagination as this cheap and glorified babysitter.
The female characters on Mad Men are probably the show’s strongest asset, but here they’re hollow to the point of insult.
This release of Anderson’s despairing and subtle comic masterpiece is almost certainly a placeholder for a more illuminative future Criterion edition.
Criterion’s upgrade of Wes Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
One of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams, and Criterion affords it the respect it fully deserves.
Absent of humor and thrills, it’s also accented with designs and color schemes that are equally notable for their lack of risk.
Seitz coaxes revealing and, at times, perception-altering sentiments out of Anderson by pointedly playing right into his persona of the wounded naïf intellectual.
Shawn Levy’s occasionally uproarious, warm-hearted comedy is about different generations educating each other, but it never seems rote.
The boy wizard’s last hurrah still, however, has a better shot in this category than Midnight in Paris.