Kino’s exquisite 4K transfer is easily the best that Eastern Promises has looked on home video to date.
Pablo Larraín’s film readily conjures a paranoia-suffused atmosphere of fear for what might happen at any moment.
Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.
The film’s twist ending exists only to retroactively justify writer-director Steven Knight’s feeble stylistic choices.
Fede Álvarez’s The Girl in the Spider’s Web suffers from a compulsion to be capital-C cool.
Susanna White and screenwriter Steven Knight’s white patriarchal guilt is the film’s driving energy and motivation.
The film advances that old Hollywood trope: Blacks can’t get justice unless whites are willing to get it for them.
Throughout Allied, director Robert Zemeckis brings to bear his pop-epic scope in what’s otherwise a claustrophobic story.
Everything in the script signals that the hero must transform himself from an abusive tyrant in the kitchen to the head of a loving and fully functional family.
It’s best appreciated as a tragicomic profile of a man whose extraordinary talent was undermined by the political reality in which he was enmeshed.
As is often the case in films like this, Seventh Son is at its weakest when it tries to leaven its brink-of-disaster gravity with a little nerdy humor.
The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the restaurants.
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.
The Police Officer’s Wife had easily the most walkouts of any film I saw at the festival.
David Cronenberg’s contemplation of codes of masculine honor is deliciously transgressive.
The film is proof that liberal filmmakers can make movies that aren’t desperate manifestations of their political guilt.
The film is a ludicrous, insecure psychological thriller that purports to give a human face to Britain’s invisible underclass.