Paul Dervis
The Finest Hours gives the audience two hours of fast moving, visually pleasing, easily digestible entertainment.
Clear some room on the mantle of cinematic disgrace for The Choice, an utterly drippy romance.
The President doesn’t try to drum up easy sympathy for its arrogant anti-hero.
Land art is an outgrowth of the rebellious ’60s; radicalism taking the form of ambitious topographical rearangment.
The implausibility of The Revenant is jaw-dropping.
In his best screenplays, Graham Greene explored the idea of the protagonist as anti-hero well before it became a popular trope in the 1950s and ’60s.
Concussion butts heads with the NFL; Point Break is pointless.
The unimportance of being too earnest.
The Big Short is a deftly sardonic piece of doomsday economic diagnosis that is as entertaining as it is alarming.
Our demanding critics choose the best (and worst) films of the year.
Recent Comments