Phoenix perpetuates one of the best contemporary director-actor collaborations.
“Where’s the Dignity?” doesn’t lack for drama or tension; it’s just much better stacked than its predecessors.
What Leviathan takes most from Job—and also Thomas Hobbes for that matter—is its focus on subjugation.
Yann Demange’s ‘71 isn’t meant to look like one continuous shot, as Birdman is, but it often feels that way anyway.
Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
Writer Phil Ford provides a tale that gives Peter Capaldi the opportunity to show how different his Doctor is from Matt Smith’s.
Unremarkable films propped up by exceptional lead performances are as much a certainty of the autumnal season as yellow leaves and pumpkin patches.
In the whimsical early scenes of “Deep Breath,” Peter Capaldi gets to have fun with the Doctor’s traditional post-regeneration wackiness.
The episode is, principally, a reconsideration of characters we believe we’ve come to know.
The Knick remains one hell of a panoramic contraption, and Clive Owen’s starring turn as Dr. John Thackery is one of the show’s major draws.
“Cairo” sees the residents of Mapleton tested in the same way God tested Abraham, and more than a few are found wanting.
The lurking anti-subtlety of The Knick’s pilot picks right back up in “Mr. Paris Shoes.”
Irony, sarcasm, or tactful and disciplined minimalism? Those are the cinematic realms through which this director just cannot, ever, pass.
It’s no wonder that film festivals are schizophrenic creatures, given the number of different functions they have to perform simultaneously.
It pauses to establish the constellation of conflicts driving the first season of The Leftovers to its conclusion.
A decidedly 21st-century tension drives The Knick: the murky interstice between recorded and unrecorded history.
A serious film this is not.
Lock Up has little interest in actualizing its goofily violent promise.
With “Guest,” The Leftovers whittles away Nora’s placid exterior until all that’s left is the abraded soul inside.
An enthralling portrait of what happens when the urge to move on collides with the persistence of grief.