For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.
Guillermo del Toro reimagines an agonizing, still shocking noir as an exhibit in a wax museum.
As it moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life is beside the point.
Gus Van Sant’s film is admirably unsexy, and a testament to the comedic potential of going sober.
The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
This empty exercise in imitative long-take aestheticism fills its frames with endless repetitions on a visual gag.
Terrence Malick’s Song to Song is about floating along on currents of uncertain desire and excitement.
Lion’s faults of structure and pacing might limit its power, but in stretches it still roars.
It offers a powerful metaphor for the manner in which we carry the memories of our departed inside ourselves.
In this Oscar race, one nominee benefits from nostalgia while another will likely coast to victory because of category fraud.
Joe Wright’s film could fuel an entire series of incredulous episodes of the How Did This Get Made? podcast.
Stephen Daldry, working from Richard Curtis’s exploitative script, opts for a full-on Slumdog Millionaire imitation.
This adaptation attunes itself expertly to the very real dangers staring back at Carol and Therese.
Carol slots into Haynes’s filmography like a wintry, understated cousin to Far from Heaven.
Perhaps the most crucial element of Jonze’s vision is its sympathetic embrace of the volatile beating hearts of its characters.
Her is rich in alternately wry and depressing details about the human condition.
The film’s highly calculated beauty suffocates rather than elevates the story’s emotional underpinnings.
The film stars Joaquin Phoenix as a man who falls in love with an advanced Siri-like operating system.
Steven Soderbergh’s self-professed final film, Side Effects, has reason to resemble a feature-length drug commercial.
Fincher’s reputation as the best modern American director is further reinforced by this disc.