The film becomes overrun by an increasingly preachy and tiresome series of life lessons about race, class, and love.
The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.
Kenneth Lonergan is keen to frustrate the therapeutic trajectory of Manchester by the Sea‘s premise.
Liza Johnson’s film is generally taken with comfy gags that celebrate these men’s ownership of pop culture.
The top-notch packaging reveals Argo for what it really is: less a nail-biting chamber-piece character drama and more a coolly realized, wildly reckless, actioner.
Unlike many soap operas, Deception’s murder mystery isn’t an engine that drives the plot; it’s, quite decidedly, the plot in and of itself.
Any native of a downtrodden city will tell you that there’s an undeniably authentic quality to the work here.
Nancy Drew is almost charming when she’s out snooping in the boonies, but she doesn’t make a whole lot of sense nosing around Hollywood wearing Bree Van De Kamp’s hand-me-downs.
One of the best-looking films of 2005 doesn't exactly get the red-carpet treatment from Warner Home Video.
The dichotomy between Murrow and McCarthy is emblematic of Good Night, and Good Luck’s fixation on contrast.