This is all growing rather fussily symbolic, occasionally bordering on the tedious, as parallels upon parallels are affixed to the primary thread existing between the leads.
It’s long been a given on Game of Thrones that “All men must die.” The question, then, is less a matter of whether they will, but how they will.
A mixture of old ideas and new developments straining to hold our attention, an insolvent phantom itself.
“Primavera” plumbs the expressionist fugue state into which the events of last season’s finale have sent the characters of the show sometimes literally tumbling.
The deeper irony here, of course, is that “The Dance of Dragons” refers to the divisive, needless war between two siblings for the Iron Throne.
It fails to suggest much more than madness in the method, as the show resumes its retreat into the realm of pure plot.
With a few painterly strokes, Polak’s camera powerfully evokes the central dump’s hellish dimension.
Riffing on early portions of Thomas Harris’s novel of the same name, Hannibal is similarly liberated by its protagonist’s unmasking.
If there’s one thing the frenetic White Walker-packed climax of “Hardhome” proves, it’s that at the end of the day, talk is cheap.
The fact that it stumbles so badly doesn’t bode well for this shambolic season’s looming finale.
Rarely has the question “What if this is a dream?” been fraught with such bitterly ironic implications.
The film lets Marty and Doc honestly and truly understand each other for the first time in the series.
Many of the excellent documentaries screened at BAFICI articulate a surprisingly coherent argument about nonfiction filmmaking and its relationship to the real.
As you’d expect from a series with such a dismal track record of successful weddings, its idea of presents isn’t much better, and even the most sincere, like Sam’s, comes with a disclaimer.
It strings together a series of arresting images, but they’re little more than a placeholder for dramas still to come.
It’s the unlikely third-part arrival in a widescreen, English-speaking Australia in 2025 that proves to be Jia’s undoing.
In a competition otherwise marked by compromise and caution, Hou Hsiao-hsien’s austere, astounding film feels like it’s been beamed in from another era entirely.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
Weerasethakul’s films have always been marked by their tenderness, unobtrusive rigor, and desire to splice the straightforward with the oblique.
To confer a bit of artsy edginess, Trier peppers this slickly shot, scripted-to-death family drama with flashbacks, dream sequences, and what-if scenes.