Christopher Nolan’s film willfully and startlingly dispenses with the plodding routines of the average biopic.
What lingers most readily from Amsterdam are the little privileged moments.
Cary Joji Fukunaga’s film inadvertently confirms that Bond is best when the simpler, more savage pleasures prevail.
Though it feels impersonal, The Little Things nevertheless has an obsessive pull.
Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
Throwing questions of artistic merit out the window, opponents of a Rami Malek win have dutifully cast doubt on his ideological purity.
Rami Malek’s charitable act of resuscitation for the benefit of Mercury’s admirers is something that the film as a whole fails to accomplish.
The film proffers the sort of cinematic nowhere place that’s all too common of an increasingly corporate, globalized cinema.
Writer-director Sarah Adina Smith’s film confuses narrative gimmickry for the sensitive evocation of an inner life.
Hacking proves to be the perfect symbol for the psychological subversion that Elliot, along with his friends, family, and even enemies, cannot help but indulge.
Mr. Robot’s uneven first season evolves from a preachy David Fincher rip-off into an engagingly trashy soap opera.
A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a fantasy that serves as a cleansing creative exorcism.
This third and supposedly final edition in the franchise is nothing more than an uncomfortably transparent contractual obligation.
Even when compared to other Ford Mustang commercials, the film isn’t particularly memorable for anything other than the startling incompetence and dull sheen of the end result.
There’s tremendous dramatic value to the aching and sometimes devastating scenes that home in on these kids’ private torments.
The film’s highly calculated beauty suffocates rather than elevates the story’s emotional underpinnings.
Wilmer Valderrama and George Takei’s reaction shots are the only feeble sources of humor in this dramedy.
Director Shawn Levy remains unable to convey the type of grand, awe-inspiring scope and wonder that his material requires.