Instead of a raucous celebration, The Flash feels like a muted parade of regrets.
George Clooney’s film is a coming-of-age story that feels as if it was conceived inside of a lab.
The film goes down easy because it saves the self-improvement clichés for the homestretch.
Director and co-writer Hannah Fidell never finds the right mix of meaningful parable and sophomoric romp.
There’s a newfound depth to the way Diablo Cody conveys the myriad pressures that plague her protagonist.
John Carroll Lynch’s Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
The sense that children’s attitudes toward militarization are being normalized is its objectionable given.
Josh Mond’s film confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive.
The film’s larger points essentially fall by the wayside in the name of black comedy that’s largely without genuine edge.
Reminiscent of Woody Allen’s Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
How wonderful it is to watch a film that pays attention to life’s finer textures.
Father doesn’t just know best, he’s the only one whose knowledge or lack thereof means anything at all.
It does well in using dialogue to shape its escalating tête-à-tête, but the filmmaking is too fuzzy to expand on those ideas.
The complicated psychological realities of army personnel require a tougher directorial treatment than the maudlin melodrama presented here.
The film is a quiet, tender triumph that leaves you feeling as if you’ve been embraced without you feeling had.
Swanberg continues to grow confidently into his status as one of our finest poets of not-quite-youthful confusion.
The Peter Landesman film’s overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for something.
Lynn Shelton crafts a film of astonishingly sustained mood, tying its beguiling atmosphere to the mental states of her characters.
The film’s small, improvisational skeleton struggles to meet the demands of the more ambitious story it’s trying to tell.
Though James Wan’s latest claims to be based on a true story, in truth it’s based on every horror film that’s come before it.