Every explosion is predictable in the post-WWII Danish drama Land of Mine.
It came as something of a shock to discover that the original Danish title of Land of Mine—a Best Foreign Language Film nominee at this year's Academy Awards—was in fact Under Sandet, which translates as "Under the Sand."
T2 revisits Trainspotting 20 years later, in a more complicated world.
"Choose life," Mark Renton suggested back in Danny Boyle's original 1996 Trainspotting. The Edinburgh heroin addict's advice was ironic, of course—he was courting death. But he was also rebelling against a life of conformity and consumerism.
Terrence Malick again explores souls seemingly without bodies in Song to Song.
A week or so before I finally sat down for Terrence Malick's Song to Song, I shared this Twitter musing: "Like bebop, I see Terrence Malick's oeuvre as a singular, perhaps sublime art form for which I am simply temperamentally unsuited."
A new Beauty and the Beast can't decide whether to aim for originality or nostalgia.
Over the past 25-plus years, it is likely that I've watched Disney's animated Beauty and the Beast somewhere in the neighborhood of 75 times.
Kong: Skull Island brings Vietnam to a war against monsters.
What's the big surprise of Kong: Skull Island? No, it's not a secret sequel to Peter Jackson's 2005 film King Kong; the two movies are not connected in any way.
Logan takes the Wolverine to a darker place.
If there was any reason to suspect that co-writer/director James Mangold was going to deliver just another adventure for the Wolverine (Hugh Jackman) in Logan, he takes approximately two minutes to dispatch such notions.
Get Out offers satirical horror on race in the suburbs.
Get Out plays as a feature-length version of the not-quite-joking sentiment among African Americans that the suburbs—what with their overwhelming whiteness and cultural homogeneity—are eerie twilight zones for black people.
A Cure for Wellness brings operatic craziness sure to irritate audiences.
There's a temptation, for those who write about movies for a living, to anticipate the commercial prospects of movies before they are released. This is usually a fool's errand; anyone who believes they know exactly what will be a hit and what will be a flop should be in a far more lucrative career than film criticism.
Jim Jarmusch's Paterson finds the beauty of art in ordinary places.
At first glance, Paterson (Adam Driver) is an ordinary guy to an extent that's almost a cliché, like the platonic form of Ordinary Guy. He gets up every morning, kisses his wife, Laura (Golshifteh Farahani), and sits down to a breakfast of Cheerios eaten out of a juice glass. He goes to work as a bus driver for the New Jersey Transit Authority, carrying a metal lunchpail. At the end of his day, he comes home, takes the dog for a walk and stops in for a beer at his neighborhood bar.
Outside events cast a long shadow over the 2017 Sundance Film Festival.
Before the 2017 Sundance Film Festival kicked off on Jan. 19, a colleague joked on Twitter that the inauguration of Donald Trump—which occurred on the fest's first full day—would frame every wrap-up piece.
Gold never shakes free from its too-familiar story idea.
There's nothing fancypants here ... just underpants, like a potbellied Matthew McConaughey prancing around in tighty-whities. Fun for the whole family!
20th Century Women offers a compassionate take on generational shifts.
Dorothea, it turns out, is something of a trailblazer herself, a woman who went to flight school for a chance to fight in World War II, and a trained architect.
Silence is a beautiful, complex mix of Good Friday and Easter Sunday.
There's an old story that one of Martin Scorsese's New York University professors said his films contained too much GoodFridayand not enough EasterSunday.
Hidden Figures tells an about-damn-time story of history-making women of color.
Though they were as smart and as educated—and often did much of the same work—they were paid less in money and in respect than their male counterparts (who held titles such as "engineer"). Anything done by black women was, obviously, barely worth mentioning.
Celebrating the best of 2016 in film.
If you're looking for a place to start catching up on some 2016 greatness, I hope this'll do.