Throughout The Beekeeper, our hero’s actions remain curiously unexamined by the filmmakers.
Creed III comes down to a draw between its flashes of brilliance and its missed opportunities.
Soul gets a reference-quality presentation, but the supplements package (and packaging) lacks in, well, soulfulness.
In a troubling reversal from Pixar films past, it’s kids who will have to do the most heavy lifting to keep up here.
The film doesn’t offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.
The greatest gift offered by the film is an empowering world that looks less like invention and more like real life.
The film ruminates on how virtuality infiltrates the deepest regions of our subconscious to reprogram the inner workings of the self.
Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler’s Creed.
DeBessonet sits down with us to discuss directing her first Shakespeare in the Park production.
Creed cannily funnels decades of American social tension into a tense and moving interracial buddy story.
One of the film’s greatest traits is its refusal to say 10 words when two will do, or to say one word when silence says it all.
Do No Harm offers little in the way of innovation to the exhausted Dr. Jekyll and Mr. Hyde formula.
Tyler Perry’s considerate plotting is attuned sense of people’s evolving feelings and relationships.
Tyler Perry’s histrionic For Colored Girls is purple in more ways than one.
The big-studio romantic comedy has become so intractably set in its ways that there’s no longer hope for true innovation.