The film coheres as a powerful study of the way in which people are cloistered by stories.
Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
Mank’s most haunting sequences are self-contained arias in which characters grapple with their powerlessness.
Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
Watch: The Souvenir, Starring Honor Swinton Byrne and Tilda Swinton, Gets First Trailer
Joanna Hogg has been flying under the radar for some time, but that’s poised to change in a big way.
Anchor Bay’s excellent transfer and engaging extras are still not enough to elevate Only God Forgives above anything more than eye candy.
Ralph Fiennes’s film feels not so much rooted in the past as it is mired in conventions about how to portray that past.
It takes the basic form of the revenge flick and dips it in tar, making for a movie that comes out sticky, nasty, and black.
Kristin Scott Thomas’s sadistic mother figure is indicative of the film’s problematic construction.
This adaptation is striking for the way that it both softens the edges of and preserves the problematic acidity of August Strindberg’s play.
The film functions more like an intellectualized primer than an actual terrifying experience.