Ella McCay seeks to project optimism in a time of unrelenting divisiveness.
The film’s convoluted plot is one big MacGuffin leading to the thwarting of a cartoon villain.
This excellent 4K release rolls into town on a gravy train with biscuit wheels.
This is “content” at its most nakedly bankrupt.
The Coens’ bleak and beautiful adaptation of Cormac McCarthy’s novel gets a gorgeous transfer.
The shift toward the weighty throws off the pace of what had been a charming rom-com.
This crowd-pleaser sets out to snuff out much of what’s so singular about its central story.
Stone’s splenetic, sophomoric, but nonetheless captivating media satire has never looked better.
The film asks us to eat the rich, but Criterion’s release is at best a delicious light snack.
The series takes itself a touch too seriously to succeed as a farce but draws its characters too broadly to achieve any real pathos.
The film, unlike some of the Farrelly brothers’ past work, is maudlin and banal.
Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
The title is an assurance that the most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
In the film, the Battle of Midway suggests something out of a photorealistic animated film.
Behind the film’s self-awareness and irony is a hollow emotional core.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
This is another quarter-billion-dollar installment in the world’s longest and most expensive screensaver.
Sam Rockwell did more on the campaign trail to legitimize unlikely redemption than anything Martin McDonagh gave him to work with.
Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.