The film breaks little new ground but is at least a notable improvement on, well, The Mousetrap.
The series underlines the loss of creativity and boldness that marks the transition from childhood to adulthood.
As the series has continued, it’s grown more outlandish, oppressive, and removed from the things that made it so captivating.
The film is a leaden adaptation of Sarah Waters’s quiet yet distressing novel about an aristocratic family’s downfall.
The brother-sister drama at the center of writer-director Clio Barnard’s film remains frustratingly hazy.
The film expects us to be compelled by an undercooked love story, and troubled by unexplained cosmic politics.
The literalizing of Ivan Locke’s hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
A tale of memory and redemption that does little to linger in the mind and even less to decry P.L. Travers’s claim that Disney turns everything it touches into schmaltz.
The Police Officer’s Wife had easily the most walkouts of any film I saw at the festival.
The crashes, bangs, and booms are no less numbing than anything else you’ve seen in this summer of garbage blockbusters.
Any major-race hopes that Focus Features may have had for the film were basically dashed this week.
Joe Wright crafts an engrossing, literate film, treading water even under the weight of its director’s misguided ambitions.
AMC’s remake of Patrick McGoohan’s 1967 television cult classic The Prisoner is a convoluted mess from start to finish.