The series handles teched-up sci-fi concepts with the urgency of a conspiracy thriller and grounds them in a relatable family drama.
The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
Black Widow isn’t terribly hard to follow, but in execution the film moves so haphazardly as to be bewildering.
The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.
The film remains a hypnotic yet foreboding look at how the proliferation of images and media technology affect the mind.
The fun of the action scenes exacerbates the failure of the narrative to adequately contend with its own themes.
The film is a complication-smoothing take on Jesse Owens’s elegant riposte to Hitler’s racism at the 1936 Olympics.
The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
Jeremiah was a bullfrog and the film should have stayed on ice, but the new 4K transfer from the Criterion should give fans enough reason to reunite.
The look of Akiva Goldsman’s fantasy is limp, timid, and occasionally outright awkward.
Its title, very graciously, doesn’t end with a “Part 1,” but The Host sure has enough plot points and ideas to fill two installments.
Russell’s kinetic head trip about the dangers of scientific self-indulgence comes to high definition in a forgettable package.
The film is clogged with exposition and explanation, paradoxically belittling a story that’s too big for any single telling.
Its Blu-ray debut should remind audiences why this fascinating fairy tale remains Spielberg’s most audacious, ambiguous, and menacing film.
Everything you could want to know about creating an ambitious, well-crafted rom-com in a mass-media whirlwind setting is supplied here.
The Big Chill is a master class in Hollywood co-option of fundamentally noncommercial material.
The film is a marriage made in audience-capitulating hell.
The film begins with a fair amount of promise as the filmmakers signal their commitment to exploring the possibilities of the three-character dynamic.
Endgame is one of those films whose heart-in-the-right-place earnestness is so palpable that you kind of feel bad knocking it.