By the end, Venom‘s full-tilt embrace of action effectively undermines Tom Hardy’s flashes of actorly idiosyncrasy.
The Sisters Brothers proffers a sort of Edenic vision of a latter-day El Dorado that’s worth basking in.
The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
The flawless A/V transfer of Disney’s Blu-ray fully translates the film's aesthetic beauty.
Rogue One at least creates its own character dynamics and plot routes rather than coasts on existing ones.
Where Greengrass’s action sequences were once visceral and intentionally unpleasant, now they just titillate.
Dan Gilroy’s directorial debut only offers a familiar vision of today’s newsman and producers as misery peddlers, and callow ratings slaves bordering on the monstrous.
It fails as a critique of draconian security states and surveillance culture.
The laziest sort of political cinema, full of straw men and finger-pointing, wrapped up in an awards-friendly bow.
Writer-director Sally Potter seems curiously entertained by the most pedestrian performances.
Mat Whitecross and Michael Winterbottom’s Road to Guantanamo is paved with dubious intentions.