After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
The Woman in the Window never manages to transcend the impression that it’s merely being clever.
In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.
Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
Letts trips over the line between objectifying women and satirizing the objectification of women.
James Mangold’s film mostly plays to nostalgic reveries of the auto industry’s golden age.
No American film since Zodiac has exhibited such a love for the way information travels than The Post.
A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
The Lovers takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
The film largely fails to animate Christine Chubbuck’s inner turmoil, focusing instead on broad, blunt externalities.
The film demonstrates the fatal proximity and deceptive distance that can exist between the words and deeds of extremists.
James Schamus’s screenplay is rich with culturally specific details that deepen these forking moral predicaments.
Todd Solondz fails to configure the hand-offs of the dachshund in a narratively inventive manner.
Liza Johnson’s film is generally taken with comfy gags that celebrate these men’s ownership of pop culture.
The film’s fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
In short, Homeland functions as a closed system in which American might fosters radical resistance.
For all the sound and fury it expends to propel this season’s narrative in new directions, “Redux” sends Homeland hurtling into history.
It succeeds in establishing the psychological state of play with much the same straightforwardness that “The Drone Queen” traded in politics.
Tomorrow, the WGA will announce its 2014 award winners, and whichever scribe(s) waltz off with the Original Screenplay prize may do the same on Oscar night.
The playwright discusses the limits of control and his opinion that his own mother is “a goddamned liar.”