If the SpongeBob franchise has finally gone on the run, it seems like it’s left the audience that matters most in the dust.
The film finds its purpose most pointedly when it zeroes in on the unambiguous relationship between Holiday and “Strange Fruit.”
The Dig clearly relishes in having found so many fascinating real people arriving at one place at once.
The festival is now part-streaming and part-live on a variety of platforms.
Katrine Philp’s documentary boldly argues for a clear-eyed frankness in talking to bereaved children about loss.
Garrone’s adaptation of Carlo Collodi’s story trembles with corporeal strangeness and unpredictability.
Ryan Murphy’s vibrant film adaptation makes a closer-to-seamless whole of the story’s disparate parts.
In a troubling reversal from Pixar films past, it’s kids who will have to do the most heavy lifting to keep up here.
Boseman meticulously charts the breakdown of a man discovering that pursuit and escape are inextricably intertwined.
Come Away can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
The greatest gift offered by the film is an empowering world that looks less like invention and more like real life.
Despite a searing performance from Diane Lane, writer-director Thomas Bezucha’s Let Him Go ultimately self-immolates.
The storyline’s edges are frayed just enough to give it the gentle distance of a tale recalled though the gauze of myth and memory.
Only when left to their own devices do the film’s stars enter the less manic, more heartfelt realm of the book.
This double helix of a biopic offers a twisty chronology and a slate of perspective-shifting surprises.
Because its focus is so split, the film lacks the pervasive sense of danger one expects from a spy thriller.
When Enola Holmes teeters, it’s due to an unwillingness to commit to an audience.
The show offers testimony to the power of communal storytelling, just as mighty on screen as on stage.
With this version of West Side Story, van Hove seems barely interested in the show itself.
It’s hard to think of too many other productions that strive to stretch a Shakespeare play so far beyond its natural course.