A harrowing denunciation of homophobia and violence in the army, too impersonal to fully land.
A harrowing denunciation of homophobia and violence in the army, too impersonal to fully land.
An interesting looks at the makings of classic TV comedy, marred by miscasts and an oddly dour mood.
Paul Schared is back with a film at once aesthetically austere and emotionally fraught.
A coming of age summer in 1980s Naples, which works better as a slice of life comedy than as a drama.
I was absorbed by each of these three languid, dialogue-driven stories of romance and regret.
Some thematic inconsistencies mar an otherwise competent character drama.
A wonder of beauty and sentiment, also an emotional thriller that at times borders on psychological horror.
Not quite the “normal people try crime, are terrible” Coen-brothers comedy that it could have been, but becomes fun enough by the end.
From the performances to the accents to the soundtrack, everything in Ridley Scott’s dynastic melodrama is all over the place.
For me, Spencer needed a little bit more depth to become memorable as a biopic, but it’s nonetheless and interesting if entirely fictional reconstruction of a character we all feel like we know.