The pieces brought into play here, of course, are enormously seductive, and it’s not hard to see why so many have been taken in by the film’s wide-eyed charm.
Following its usual method of diagrammatically charting characters’ rises and falls, the third season opens with nearly everyone in flux.
Style is substance, at least as far as HBO's acclaimed period drama.
Nichols’s haunting Take Shelter gets a fantastic Blu-ray transfer, rounded out with some satisfying special features.
The show constantly whets the viewer's appetite without fully satisfying it.
It keeps the audience filled with an active, dreadful fear of seeing a good man destroyed by a cursed fate.
It has the advantage of a veritable galaxy of stars at its disposal, but all that sparkle too often comes together as a gaudy mess.
Rodriguez loves grindhouse cinema, but you’d never know it from Machete, which seems more interested in mockery than homage.
It’s a mistake, albeit an easy one, to compare Boardwalk Empire to The Sopranos.
Robert Rodriguez’s films are so busy chuckling at their own supposed audacity that there’s no need for viewers to join in the revelry.
Nicolas Cage’s performance is some kind of tour de force.
It shares with the Abel Ferrara film a bottomless compassion for its crazies.
Whereas John Singleton’s 2 Fast 2 Furious had fun indulging in incessant auto-erotica, there’s little sexiness here.
Exactly what a B movie should be, Toby Wilkins’s resourceful Splinter uses its limited means to its advantage.
The film’s commentary on vice and decency is far less immediate and realistic than its gritty aesthetic would have one believe.
What should have been a jumping-off point for a lively discussion about the meaning of life is really just a philosophically shallow wasteland.
First Snow is a fate-obsessive film that would nearly register as existential were it not so resolutely low-key.
Too bad the disc's video transfer doesn't do Tim Orr's gorgeous cinematography justice.
The elations and agonies of love between young people approach new heights of strident authenticity in David Gordon Green’s film.