Carol Morley’s film wants to blow our minds, but it succeeds only at rousing our boredom.
The dichotomy represented by Jonathan and John is too clean for the film’s exploration of a divided psyche to ever feel particularly complex.
Isabel Coixet’s intermittent visual flourishes do little to amplify the stakes of her low-key narrative.
The actors discuss The Party’s political satire, Sally Potter’s approach to her screenplay, and more.
The film’s bravest choice is to expose its characters’ anxieties without offering any comprehensive solutions.
Emotional complication might have elevated Maze Runner: The Death Cure out of its programmatic torpor.
Every set piece brings to mind an Epcot Center attraction built from borrowed parts, and on a CW show’s budget.
Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
Ruba Nadda’s film begins as a moodily introspective drama about grief before implausibly morphing into a stale thriller.
Wes Ball’s film is at its best when its characters are in motion, the world around them revealed as temporary, unstable, and always in flux.
The filmmakers’ inquiry-free recipe for disaster is to idealize everyone’s unchecked narcissism and idle privilege.
The Dead Pool plays like a greatest-hits collection of Dirty Harry movie elements.
One of the actress’s killer virtues is her ability to tackle searingly human drama without seeming to take herself too seriously.
It showcases the evolving interests and talents of Zal Batmanglij and Brit Marling, but expands them and channels them into a more traditional thriller framework.