Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
Where Paul Greengrass’s action sequences were once visceral and intentionally unpleasant, now they just titillate.
Criminal’s absence of style, the lack of relish the filmmakers take in the material’s inherent ludicrousness, is a failure of conviction.
If there’s any ambiguity to be found in the film’s prolonged last gasps, it’s of a mawkish and unpalatable variety.
With the notable exception of Hilary Swank’s upright and uptight Mary Bee Cuddy, the film never lets its female characters speak for themselves.
To movie fans, JFK is the centerpiece for any defense of the persuasive powers of the medium.
Brode structures the book into two parts, one dealing with politics, the other religion.
Zachary Quinto brings a sulking but simmering aggression to Tom, played as a man who knows who he isn’t, but not who he is.
The Luc Besson film’s only distinguishing characteristic is how big a mess it makes of its already meager ambitions.
Wondering what the movie version of The Sopranos might look like?
Not a game-changer as Blu-ray refurbishings go, but it’s always a pleasure to revisit one of American cinema’s more nuanced hook-armed avengers.
The lame extras are disappointing, but Spielberg’s quietly subversive political comedy receives an otherwise superlative transfer.
From the animated to the animalistic, the perfect to the perverse, this list is one royally diverse bunch.
Peter Webber’s historical drama is blunt about its stylistic ambitions while at the same time failing to meet them, and the effect is one of sad ineffectuality.
All right, all right, all right. We should’ve known.
With all due respect to the gentlemen in contention, this year’s likely Supporting Actor crop has shaped up to be a snooze.
Though it boasts the strongest pedigree of all 2012 awards contenders, Lincoln doesn’t play like obvious Oscar bait while you’re watching it.
Lincoln may further the heroism so associated with its subject, but it’s no bleeding-heart glamorization.
Will the Academy really go for a star-free, Sendak-esque allegory, whose rugged charms are tied to its loose lack of answers?