The film never seems to fully buy into its horror trappings and ends up treating its characters as avatars for multiple grievances.
The film slides seamlessly between empathizing with its clueless bros and making them objects of unsparing derision.
Director Ira Sachs transforms the smallest blip on life’s radar, a childhood friendship, into a momentous occasion.
Shout! Factory has rendered this strange and forgotten Klaus Kinski Nazi horror-comedy by David Schmoeller just a little easier to love.
It’s when the film falls back on the most familiar tropes that it runs into the most trouble.
The episode places itself in the midst of people trying to cope with the fact that everything is changing, both in the world at large and in their personal lives.
The filmmakers attempt to pack a miniseries’s worth of familial drama into an 85-minute running time.
The use of The Best of Everything is a bit off, as Rona Jaffe’s novel was published in 1958 and the screen version was released in October, 1959.
Sean Penn is in full-on Greatest American Actor mode in All the King’s Men.