The battle of wills between Lavrentiy Beria and Nikita Khrushchev propels the film’s most pointed satire.
Director Colm McCarthy’s The Girl with All the Gifts is a tedious exercise in dystopian chic.
Throughout, director Justin Kurzel’s stagey pretensions clash with each of his aesthetic choices.
It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.
It’s at once devoted to corroborating and casting an exaggerated light on Soviet paranoia and the state’s rhetoric of unmasking its enemies.
The film the tough true story has spawned is as formulaically cheery, didactically “uplifting,” and fundamentally false as a Disney sports movie.
Paddy Considine’s benumbed ambiguity at least works against writer-director Shan Khan’s reduction of honor killings to grist for the cheapest of pulpy thrills.
Whatever the film’s interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
The film turns the miscommunication between cultures into an utterly lifeless romantic comedy best appreciated as a travel guide for first-time tourists to Paris.
The World’s End confidently and openly grapples with its weighty thematic issues before sublimating them into something supernatural.