Scott cares only for the set pieces, as evinced by the listless mediocrity that surrounds them.
When Dead Reckoning Part One settles into its set pieces or moments of caper comedy, it soars.
Hugh Jackman imbues The Son with a tragic power that makes even Florian Zeller’s most manipulative excesses easier to tolerate.
Kirby and Leon discuss the roots of their partnership and how they navigated the portrayal of the main character’s sudden amnesia.
During an amnesiac’s atmospheric nighttime ramble through Manhattan, the seeds of a narrative are sewn but never nurtured.
At its best, the film’s romance comes alive through some well-wrought dialogue that rarely ventures into faux-period eloquence.
When the film’s actors are given space to etch their characters’ feelings, they turn in strikingly naturalistic performances.
Agnieszka Holland’s film is also a tribute to those who see the world for what it is.
The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
The film receives one of the best blockbuster home-video releases of the year—and just in time for the holiday season.
Fallout’s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
Round and round Gillian Anderson’s Blanche DuBois goes, and where she stops, everyone knows.
It punks its impressionable audience into believing a lie, then punishes them for their foolishness.
The Dresser is a merely effective portrait of the pitfalls and pleasures of a working relationship.
It lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
The film is dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.