The core framework of The Do-Deca-Pentathlon feels a bit too basic and familiar for Mark and Jay Duplass.
Beach House seems to have known from the beginning what they wanted their music to sound like.
Keyhole never quite indulges in full-on abstraction.
The Comedy is continuously in danger of feeling either too cute or too abrasive.
The idea of a film about an unwed mother first came to Preston Sturges in 1937.
As in creator David Milch’s previous HBO shows, one of Luck’s central themes concerns the building of a community.
Tchoupitoulas could also be described as a work of nonjudgmental portraiture, but that wouldn’t come close to encapsulating its beauties.
Wes Anderson seems to have taken a page from Todd Solonz’s book, and it’s hard to imagine more beautiful results.
The Cabin in the Woods ultimately does exactly what it condemns, prizing schematic formula and ingenuity over real terror.
For two episodes with very little action, they wind up revealing quite a bit about Justified’s representation of violence.
Game Change lives in the reaction shot: in capturing the eyes of mute staffers on the sidelines witnessing the clashes of personality.
The film is immensely rich as an act of philosophical inquiry.
My Nights Are More Beautiful Than Your Days is as galvanizing as it is sad and stifling.
If “All the Rowboats” isn’t the first song to anthropomorphize the contents of a museum, then it’s at least one of the best.
There’s no getting around the fact that this week’s episode of Luck was overstuffed with exposition.
Clive Owen should feel rather good about himself.
Andrzej Zulawski’s first movie made in exile is a meditation on the preposterousness of being a couple.
Sleepwalk is a story of inter-textual synchronicity, of ideas and gestures bleeding from one medium to another.
Andrzej Zulawski’s debut feature seemed like an ominous comet zapping through the gray sky of Polish cinema.
It would seem we’ve passed the era of child stardom all but guaranteeing personal and professional downfall