Paramount’s UHD release renders the film’s sensory overload in its fullest expression.
Criterion gives one of the most compulsively rewatchable movies of the last generation its most fully satisfying home-video edition to date.
Reiner discusses the surprising new urgency that his new film took on after the 2016 election.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.
Most of the film’s characters are unconvincing, flattened out by Charlie’s self-focused lens.
Diane Keaton’s jangled neurotic tics are simply sprinkled atop her on-screen persona like jimmies on a bowl of ice cream.
Sensation aims to glide over where hollow, platitudinous words themselves fail in The Wolf of Wall Street.
Ephron imbues the film with a self-awareness that remains rewarding in spite of its contradictions.
The brash, rise-and-fall stock-market satire seems to boast more comedy than the filmmaker’s typical hard-hitting drama.
It would appear that one of the biggest challenges facing movies with huge, starry casts is getting all the actors together to shoot the poster image.
That the The Magic of Belle Isle can conjure any true feeling at all is some kind of wonder.
The film is an elegy for Chris, and so it became an elegy for the youthfulness and beauty of River Phoenix himself.
Reiner and company seem to be giving permission to the men in the audience to succumb to the lumps in their throats.
A treacly tweener saga of first love that drowns in nostalgia, Flipped furthers Rob Reiner’s slide into irrelevance.
Rob Reiner’s sloppy, episodic direction dwells on neither the emotion nor the mortality that would think would be impossible to screw up.
A film of remarkable forwardness, honesty, and humor, built, like all fairy tales, around one message, summed up late in the script.
Lacking the commentaries and home-video footage that graced previous DVD releases, this pedestrian set hardly excites.
There’s no sense of magic and danger to this bland animation.
This “based on a true rumor” story about the real-life basis for Charles Webb’s novel and Mike Nichols’s The Graduate is a rhythm-less, laugh-less mess.