Tyler Spindel’s film shines when it spotlights the committed performances of its cast.
The film suggests that violence on behalf of an oppressed people isn’t only justifiable but even moral.
The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
The film threads classic horror tropes with a woozy, partially comic sensibility but doesn’t fully commit to this approach.
The film is almost refreshing in its flightiness, even as it remains defiantly ignorant of the world in which it exists.
Like the film, Dave Bautista’s Knox is a copy of a copy, shorn of the details that distinguish a true original.
The Mamma Mia! sequel’s flaws are overridden by infectious moments that, to take a cue from ABBA, you couldn’t escape if you wanted to.
The filmmakers don’t bring the main characters’ contrasting methods of divining truth into total opposition.
Even overlooking its account of an inexplicable political resurgence, it falters in its needlessly convoluted plotting.
The film’s emotional resonance feels hollow, watered down by an overstuffed plot that bites off more than it can chew.
Shots of the sun open and close Mister Johnson, but the sun won’t soon be setting on the film, thanks to Criterion’s transfer.
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.
A hodgepodge of horny-old-man clichés writ large, staged as a gleeful affirmation of its male lead’s ego and entitlement.
This is the kind of filmmaking that gets touted as “workmanlike” when it’s really straight-laced to the point of tepidness.
Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
An inept trifle, Pascal Chaumeil’s film reduces Nick Hornby’s novel of the same name to a series of smug self-help gestures.
We’ve compiled a list of the finest film performances delivered by actors this year, at least until this point.
It seems as if Susanne Bier set out to create an absurdist comedy, but lost her nerve somewhere along the way.
If Kate’s character-friendly surname caught your eyes, keep rolling them.