The miniseries does little more than reinforce everything the left always suspected about Fox News.
The film is more interested in how people respond to extreme emotional crises than to everyday life.
As it proceeds, the appeal of its nostalgia wears thin and you may notice that there isn’t much beyond the window dressing.
One of the most beautiful and mysterious of all existentialist adventure films receives a deservedly lush and subtle transfer.
Live by Night adds a new wrinkle to the well-traveled terrain of the mafia film: the woke gangster.
The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
The film’s notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
Everything in the by-the-numbers script signals that Adam must transform himself from and abusive tyrant in the kitchen to the head of a loving and fully functional family.
The film conveys an engagingly low-key atmosphere, pervasive with wayward souls haunted by poor choices.
Eastwood’s visceral, divisive war film receives a top-shelf A/V presentation, but skip the dull puff pieces masquerading as supplements.
Vince Vaughn’s cinematic existence is that he’s a paragon for reformed chauvinism. He’s an irrepressible but highly tamable id. Not so here.
It grips the audience with its sense of hypnotic silence, which carries suggestions of what might be termed politically apolitical pragmatism.
Of Bennett Miller’s many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
Kat Coiro’s film takes comedy of discomfort to new levels of cringe-worthiness.
The embarrassingly low production value of Bernard Rose’s 2 Jacks works symbiotically with the film’s botched performances.
If the characters sometimes speak as though they’re trying to determine the theme of the film, one can hardly blame them.