Cameron’s Fire and Ash is effectively a three-hour-plus series of climaxes.
Jarmusch’s latest is haunted by mortality and the inevitable passage of time.
Think of Lighton’s Pillion as a BDSM spin on Brief Encounter.
Denis approaches a simple setup via a discordant melding of cinematic and stagy modes.
As Bruce Springsteen, Jeremy Allen White is all slouched posture and distant stares.
This “loose adaptation” of Thomas Pynchon’s Vineland turns overreaching into an art form.
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.