Richard Brody

This impersonal exaltation of heroic exploits leaves an unexplored dilemma at the foundation of the film.

The pieces are clever enough that the film is rarely boring—it keeps a viewer hoping that the spark of life will strike sometime before the lights go up. But it’s not to be: it remains a movie in search of an animating spirit.

Breillat directs her cast with precise clarity, and her exacting staging produces both intensely evocative moments and a rare, quietly terrifying pugnacity that permeates the drama.

The dramatic format seems borrowed from television, with multiple threads jumpily interweaved, to ward off impatience. With so many balls in the air at once, the movie lacks the kind of patient observation that this story demands.

As admirable as some of the onscreen talk is, it’s mainly just delivered, along with the intentions and meanings that it contains; its precision leaves little overflow, little room for observation, little scope for imagination beyond the intimate purview of the story.

The Bikeriders displays the cost of noninterventionist direction, of sticking to source material with a self-inhibiting fidelity. These characters are still in search of their auteur.

In a sense, “Flipside” is a hoarder’s tale, in which objects, by summoning the past, generate intense emotions in the present.

Linklater’s direction keeps “Hit Man” brisk and jazzy, as does the jovial force of Powell’s performance.

An intricate time-jumping framework is a large part of what makes the film distinctive, but the compromises made to achieve this are responsible for a pervasive feeling of emptiness.

There’s something in Schoenbrun’s sense of style that captures the alluring yet alienating essence of screen-centered lives: the feeling of not being where one is, the feeling that what’s happening elsewhere, on those screens, is more important, even more real, than one’s own life.

For all the movie’s kinetic thrills, “The Fall Guy” is a romantic comedy, and it succeeds in delivering that genre’s patterned gratifications in a fashion that does more than reheat them.

Arnow’s poignant and original performance—refined in its awkwardness, exalted in its degradation, touched with grace in its rude self-presentation—is a double masterwork of acting and directing.

In Our Day is essentially a sort of wisdom cinema, a distillation of the emotional complexity, the aphoristic brilliance, and the severity toward oneself and toward others that marks the world of admired creators—and it’s a work of paradox.

For all the film’s quietism regarding the particulars of secession and rebellion, “Civil War” is a piece of propaganda, a veritable recruiting video for its own rebels.

In trying to do too much in its mere eighty-seven-minute span, “Kim’s Video” does too little. For all Redmon’s self-described passion for movies and obsession with the Kim’s Video trove, the film has little to say about a wider view of video-store life and its relationship to the movie-viewing experience.

It’s a freestanding, freewheeling work that relies on familiar characters to tell a story closer in substance and tone to the sexual fury, social outrage, wild humor, and outlaw freedom of John Waters’s films, and it has a vociferously didactic streak that’s playful yet focussed.

Even as the film abounds in behavioral details, rendering its four protagonists’ personalities in sharp outlines, it never presumes to know too much about them; the movie shows what Sasquatches are like without assuming what it’s like to be a Sasquatch.

Allen has suggested that “Coup de Chance,” his fiftieth feature, may be his last; if so, he goes out with a self-excoriating bang.

Ultimately, the true genre of “Love Lies Bleeding” is a Kristen Stewart movie. That genre, too, is one that the director neither expands nor reinvents.

The result is a mere yarn that, lacking any sense of meaningful retrospect at a quarter century’s distance, remains untethered at either end of its time line and merely goes slack.

Rather than offering a stark and incisive vision, this aesthetic of tacitness delivers a sentimentalized prettiness. The results are merely vague, in a way that seems willfully naïve about Japan, about labor, and about art.

The paradox is poignant: the movie is, at its best, so alive to its characters’ immediate experience that it’s all the more regrettable that we do not really know them at all.

Rough, tender, funny, and harshly searching.

The failure of The Rider to see Brady in his intellectual and experiential specificity, to render him as interesting as the dramatic shell in which Zhao places him, is a failure of directorial imagination.

For all its droll shading of the screenwriter’s art, “All of Us Strangers” is a screenwriter’s movie, in which the power of intention over observation, of the blueprint over the finished product, is asserted with a vengeance.

In disclosing the secret of engineering, Mann also offers a passionate and personal word on the secret of the cinema itself.

With “Daughters,” Dash places Black Americans’ intimate dramas in a mighty historical arc with metaphysical dimensions; with his “Color Purple,” Bazawule acknowledges Dash’s work as a landmark in that history and a fundamental inspiration in his approach to historical drama.

The Iron Claw is as exuberant as it is mournful, and the high spirits of performance and achievement are inseparable from the price that they exact.