The sense that they don’t make mass entertainments like this anymore is palpable.
This psychedelic, horror-strewn romp’s artistry perfectly reflects the intensity of Strange navigating endless alternate realms.
The triumph of Disobedience is how the performances and style exteriorize the interior worlds of the characters.
Mark Perez’s screenplay maintains just enough plausibility to prevent the film from veering into sheer absurdity.
Marvel’s best film to date is a surprisingly beautiful, eccentric, and generous fable of interpersonal, political, and cosmic communion.
Nothing that Marvel Studios has produced can compare to the visual splendor of Scott Derrickson’s film.
Mark Osborne’s The Little Prince reveals itself to be concerned with the blossoming of qualified idealism.
In this Oscar race, one nominee benefits from nostalgia while another will likely coast to victory because of category fraud.
Terrence Malick’s juxtaposition of the beautiful and grotesque captures life as a Felliniesque carnival, at once sad and life-affirming.
The premise should be prime fodder for director Wim Wenders’s brand of poetic regret.
At times, The Witch’s minimalist chill becomes too diffuse for its own good.
True Detective’s first season had a methodical and measured approach to tracking its villain, but this season doesn’t know when to stop changing things up.
This is an irritating table-setting episode in which the characters constantly explain how the pieces fit together.
Everything you need to know about the inconsistencies of the show can be summed up by the two standoffs that occur in this episode.
Each battle scar in Antoine Fuqua’s Southpaw is a testament to a vaguely but nonetheless forcefully defined notion of masculinity.
Throughout this season of True Detective, a singular point has been drilled into our heads: “We get the world we deserve.”
Good and evil have often been described as two sides of the coin that is humanity, and “Down Will Come” certainly puts that theory into practice.
Finally, there’s Frank, who’s still in what he referred to as a “papier-mâché” state of being—neither coming nor going.
Ultimately, what gets Frank out of bed is an echo of Leonard Cohen’s sentiment in the show’s theme song, “Nevermind.”
All the central characters have moments here in which they, for all intents and purposes, might well be dead.