Paul Dervis
The Finest Hours gives the audience two hours of fast moving, visually pleasing, easily digestible entertainment.
Read MoreClear some room on the mantle of cinematic disgrace for The Choice, an utterly drippy romance.
Read MoreThe President doesn’t try to drum up easy sympathy for its arrogant anti-hero.
Read MoreLand art is an outgrowth of the rebellious ’60s; radicalism taking the form of ambitious topographical rearangment.
Read MoreThe implausibility of The Revenant is jaw-dropping.
Read MoreIn 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.
Read MoreConcussion butts heads with the NFL; Point Break is pointless.
Read MoreThe unimportance of being too earnest.
Read MoreThe Big Short is a deftly sardonic piece of doomsday economic diagnosis that is as entertaining as it is alarming.
Read MoreOur demanding critics choose the best (and worst) films of the year.
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