Criterion has outfitted Paul Thomas Anderson’s magical and career-redefining whatsit with a shimmering and gorgeously immersive transfer.
By retaining so much of the book’s plot, the movies fail to offer anything of real interest or challenge to those going into the final installment knowing how it ends.
We hope to shine a little light on brilliant, touching, often funny performances which enrich our understanding of what it means to be human.
As a metaphor for the way we respond to the media, and the way our politics are funneled through the media lens, the film succeeds most when it revels in ambiguity.
Theater director Ivo van Hove has made a habit of breaching borders.
Anton Corbijn constructs a stifling world of shadowy surveillance and intersecting national interests, building on John Le Carré’s sense of moral and emotional exhaustion.
Throughout, it becomes difficult to know whether we’re meant to empathize with these characters or laugh at them.