Eggers’s cinema has an aesthetic ravenousness about it that’s both stylish and sequestered.
The drama of the film is a literal life and death struggle that’s exceedingly of this moment.
In Guadagnino’s latest, the queer, tragically, becomes quotidian.
The film is a handsomely mounted production in which much of the filth feels stage-managed.
Warner’s disc looks magnificent in native 4K with Dolby Vision enhancement.
Think of Chris Nash’s film as Béla Tarr doing an unholy doc-fiction hybrid about Crystal Lake.
The film attests to Miller’s enduring aptitude for utilizing the ridiculous to achieve the sublime.
The film lacks the passion and the perspective to make the words and tunes truly resonate.
For all the unbridled destruction, Godzilla Minus One remains perversely light and fun.
The sense of concurrent being and non-being is key to the Michael Mann aesthetic and ethos.
Scorsese’s engrossing historical thriller is a three-hander on an epic canvas.
The metaphysical realm governs the non-ideal world inhabited by each of Eureka’s characters.
The sense of getting nowhere proves crucial to grasping le Carré in all his impish glory.
Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
The story is kept at a stress-inducing simmer, with occasional surges of operatic emotion.
Jacques Rivette’s Secret Defense feels in many ways like a culmination.
The film is a down-in-the-muck advert for an ultimately dewy-eyed vision of the silver screen.
For all the thrills provided by its pioneering pageantry, the film leaves you with a soul-nagging query: What price entertainment?
The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
Straining to be a YA spin on Trouble Every Day, Bones and All barely eclipses Twilight.