The film is a fevered look at a man on the run from his crimes and himself.
Cooper’s third feature is playfully fascinated with the art and psychology of performance.
The Woman in Cabin 10 doesn’t waste time but also jumps to its climax too rapidly.
Shane Black’s film plays like a misguided action extravaganza from the 1980s.
The film is an emotional depiction of the gaping holes left by Buckley’s untimely death.
Rithy Panh’s film is hard-hitting yet illusive, much like the story its characters are hunting.
Very little about this murkily shot film generates much in the way of thrills or emotion.
With Mountainhead, Armstrong is sticking to a kind of satire he knows well.
Gazer sidles up to its story cautiously, mirroring its main character’s questioning nature.
The film has more on its mind than charting the rise and fall of another troubled icon.
The film attests to Hujar’s devotion to exploring the relationship between high and low culture.
The film scatters itself across multiple plot angles that confuse more than clarify.
The musical is lesser Kander and Ebb, but it still contains a critique that’s barely visible here.
If all that it had going for it was its gonzo concept, the film would be a pretty dire affair.
At times, the series feels like a thriller straining toward a more elevated fiction.
The film suggests Dungeons & Dragons for political science and national security nerds.
The film is a loving, personal tribute to the filmmaking duo known as the Archers.
The O’Connor of Wildcat is a contentious outsider who seems ill at ease in her own skin.
The film is at once among Allen’s most economical works and one of his most free-spirited.
This romanticized series mostly suggests rather than shows the horrors of a totalitarian regime.