This powerful apartheid drama still burns with outrage and conviction, and it receives an excellent A/V transfer from the Criterion Collection.
This warm, literate, erotic sports film receives an appropriately vibrant refurbishing courtesy of the Criterion Collection.
The film veers toward half-hearted, sentimental drama that seems purely obligatory to its seasonal milieu.
The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.
The film buzzes with hand-drawn creativity that’s precious in both the pop-cultural and material senses.
Writer-director Lorene Scafaria’s film is an unconvincing character study that plays like a painfully unfunny sitcom.
The premise of faith-based assisted suicide as a motivating factor for a madman’s killing spree is initially intriguing, but quickly revealed as solemn window dressing.
The film is an almost plotless doodle, with low stakes made even lower thanks to the antiheroine’s bratty passivity.
A heartfelt retro flashback littered with pop-culture iconography and much slang, it focuses on the importance of friendship and loyalty rather than social standing.
The film employs a flashy text-and-graphics aesthetic that immediately brings to mind the satirical undercurrent of a Grand Theft Auto video game.
Hey, Dad. What’s up? You good? The Braves are doing well this season.
For a movie ultimately about what freaks we all are behind the fronts we build for the sake of normalcy, the apathetically performed The Big Wedding couldn’t possibly be more square.
A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.