Sam C. Mac

Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.

Michel Hazanavicius co-opts Jean-Luc Godard's personal life for cheap prestige-picture sentiment.

An empty exercise in imitative long-take aestheticism, A Ghost Story fills its distractingly round-cornered frame with endless repetitions on a visual gag.

Sleight never shows much interest in exploring how blackness can inform its genre's tropes.

The film is neatly organized around not only the changing of the seasons, but a Disney-branded "circle of life" ethos.

It isn't until its final moments that Lady Macbeth turns into the kind of meaningless, mean-spirited, and proudly irredeemable non-character study that likens it to, say, last year's emptily foreboding Childhood of a Leader.