With Ascher’s fantastic hoot of a movie, this year’s omnipresent Sundance tagline (“Look Again”) has finally lived up to its promise.
The film sings an ultimately joyful song.
No protagonist at True/False was more difficult to identify with than Joshua Milton Blahyi.
Scott has always had a certain reticence to embrace the urgency of the current day.
Do we even need to talk about Dogtooth’s chances?
So, curses to you, once again, robots!
Hollywood’s infatuation with sombre reinventions continues in Ridley Scott’s depressingly dull Robin Hood.
Robin Hood seems to have been designed with the express purpose of removing from the myth everything that makes it enjoyable.
The film is a marriage made in audience-capitulating hell.
George Orwell’s work cuts across the political spectrum.
Like last year’s more dim-witted The Kingdom, Ridley Scott’s latest is first and foremost beholden to dull thriller conventions.
Ridley Scott and Steve Zaillian seem determined to snuff out bright patches before they can catch fire.
Not only is the film dumb as a rock, but it’s also far too convinced of its import to be any fun.
The experience afforded by a collection of this sort demands something of a reexamination of one’s relationship to the medium.
Is there anything more to see, anything left to say about Blade Runner?
Ridley Scott’s Blade Runner thrives thanks to its fundamental appropriation of noir elements.
The film suggests not so much the stirring of a soul as Sir Ridley grinding his teeth behind the camera.
Orlando Bloom and the Brothers Scott have this week’s film and DVD market cornered.
Kingdom of Heaven ultimately turns out to be a film about holiness beset by a pedestrian spirit.
Ridley Scott fans: Imagine for a second what Matchstick Men would have looked like if Robert Zemeckis had directed it.