As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.
For a film so interested in the public’s malleability, The Take isn’t particularly good at controlling its own audience.
The filmmakers cut the film to emphasize the story’s familiar plot points, rather than highlight any instances of personal visual artistry.
Kenneth Branagh fully understands the societal critique underlying the tale, and brings it out into the open.
Patrice Leconte struggles to find a coherent rhythm, a problem exacerbated by a hurried running time that compresses some of the novella’s more interesting socio-political nuances.
We chatted with Cox about the unexpected Castlevania reboot’s success, and what to expect for its hotly anticipated sequel.
Game of Thrones’s best season yet comes with a typically great transfer and enough extras to please devotees for days.
The series feels like it has some firm footing and a newfound sense of certain direction that was lacking intermittently in the second season.
After last week’s thematically spastic episode, it’s refreshing to see that a simple and direct, albeit unambitious, theme unites the various plot strands here.
The second season of Game of Thrones really hit its stride tonight with “Garden of Bones.”
With tonight’s episode, the writers of Game of Thrones continue the trend of organizing each episode of season two around a different theme.
The most exciting thing about the season-two premiere of Game of Thrones is its refreshing sense of focus.
