Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.
It depicts Snowden’s ethical dilemmas in a political vacuum that disregards America’s complex security threats.
The film doesn’t clear the CGI cobwebs or successfully anchor any of its new events with emotional heft.
Familiar as its art/life paralleling may be, it’s all fueled by a filmmaker with an intimate relationship to his subject matter.
It neglects to thoroughly conceive of Emma’s plight, instead making only sporadic gestures to it.
The film can’t reconcile Ron Rash’s apocalyptic tenderness with its own eagerness to revel in romantic star allure.
The only truly graspable notion the film can be said to put forth is one of increasingly tedious sci-fi-romantic genre busy-ness.
Roland Emmerich’s film is an interesting case in that it may very well be its director’s best work; however, a better director is the one thing it surely needed.
As with its predecessors, Deathly Hallows’s narrative is driven by gobbledygook devices.