The series plays out like a sultry crime thriller, but what lies beneath its edgy, multi-perspective plot is a social drama about class.
The second season of The Flight Attendant keeps its characters constantly on the go even as they face down their demons.
Human Resources proves that there’s both comedy and poignancy yet to be mined from Big Mouth’s impulse-creature conceit.
Birds of Prey feels at times less like its own story and more like a trailer for what’s coming next.
With this extraordinary transfer, Criterion honors the profound hothouse intensity of Spike Lee’s greatest film.
This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.
In the film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
It will be exciting to see how Jarmusch takes his transcendence of genre conventions to its breaking point.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
Maris Curran never reconciles the film’s impulse to interiority with its weakness for hothouse melodrama.
The film limps to predetermined truths that hypocritically advocate the maintenance of placid family values.
Ondi Timoner’s film gives English comedian turned “activist” Russell Brand a free pass.
No cartoon has ever conveyed the struggle for self-actualization with such an inexpressive sense of imagination as this cheap and glorified babysitter.
Chief among the film’s beauties is the simplicity of the setting itself.
The film doesn’t temper enough of Cormac McCarthy’s excesses, but Ridley Scott and his ensemble find enough meat in the scenario to make for diverting, bloody pleasure.
The means by which the film provides the facts is its weakest aspect, but it’s more a narrative snafu than a half-assed political statement.
“The most corrupt cop you’ve ever seen on screen,” reads the tagline on Rampart’s poster. These badge-defilers would beg to differ.
It serves a worthy addition to the growing collection of critical and supplemental material on the making of a landmark film.
Do the Right Thing is an undiluted representation of its creator’s artistic command.
As Mister Señor Love Daddy commands, “WAKE UP” to this absolutely essential home video.