From the opening moments of Jia’s film, something strange is afoot.
Coppola’s fascination with the young and over-privileged reaches a logical plateau with The Bling Ring.
Jack’s Back maintains a giddy storyteller’s glee from beginning to end.
Outside of the earnest and grounding turn by Warwick Davis, the characters and accompanying performances are uniformly maladroit.
The sequel’s script, written by Paul and Brett Hogan, is a grab-bag of ideas, none original and most barely carried out.
The episode makes good use of the Doctor’s second-most famous enemies, the Cybermen.
Graciously and appropriately, Luhrmann eventually lets his gung-ho predilections simmer down.
One minor point of interest comes in the form of Jason himself—more specifically, the actor playing him.
I always like a movie that starts out quick, and Trance certainly does that.
With little more than two strategically placed parentheses, von Trier may well have delivered the best poster of the year.
With “The Crimson Horror,” the new series of Doctor Who notches its 100th episode.
Da flirts with Shakespearean themes, King Lear and Hamlet being the main points of reference.
This is the movie I used to rent incessantly and watch on elementary-school sick days, back when, ya know, no one suspected a thing about this sports-snubbing color coordinator.
James Glickenhaus’s film deals in chest hair.
What Woody Allen is to New York, Gus Van Sant is to Portland.
Believe it or not, there’s an interesting idea lurking inside Dead Heat.
Thanks to its immediately intriguing title, “Journey to the Centre of the TARDIS” was one of the most highly anticipated episodes of this season.
I’d sell my grandmother for a long shot.
Wojciech Smarzowski’s Rose is at times so brutal that its more tender touches can startle.
Green has crafted a debut as fresh, intimate, and compassionate as Lynne Ramsay’s Ratcatcher in 1999.