The Bad Guys is a heist film that steals all of its moves.
Joanna Hogg’s film is a work of understated warmth, profound emotional complexity, and eminently British dry humor.
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.
Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
Nick Park’s talents often serve only to highlight the fundamental lack of inspiration at Early Man’s core.
The flippancy toward thematic concerns and character construction suggests that the film was largely built from used parts.
Whatever the film’s interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
Laughter and inanity go hand in hand in Akiva Schaffer’s The Watch.
Mostly, Submarine succeeds by perfectly recapturing the way teenagers behave.
Cast members O’Dowd, Parkinson, and Berry took time from rehearsal last spring to chat with Slant about making The IT Crowd.