We may resent Cronenberg that Jung of does not undergo a metamorphosis into a cockroach, but that would not be entirely fair.
I wanted to see Judy because of Renée Zellweger, who at first seemed like a somewhat surprising choice—but, as it turned out, a surprisingly spot-on one
Tolkien works as a visual version of a Wikipedia entry and a starting point for deeper interest in the Hobbit creator. I won’t criticize that.
Tesla will fully satisfy no one – neither the discerning festival-goer nor the casual moviegoer looking for a gripping story.
This version of Churchill is primarily a deeply exhausted man—worn down first and foremost by the war and its associated stress, but seemingly also by himself.
The strength of The Disaster Artist lies not in its freshness but in its daring recreation of the passion that accompanied the making of The Room.
Simona Kossak, Polish movie starring Sandra Drzymalska, will likely be a surprisingly positive choice among the socially engaged films of the past decade
Blue Moon is nothing like Hit Man. Instead, it returns to the roots of Hawke and Linklater’s filmmaking—profound, tender, and irresistibly nostalgic.
The ending of Braveheart is the truest happy end, but we do not want to see it that way because we live in perpetual fear. Wallace...
Braveheart is an example of Hollywood's nonchalance towards history: crafting the plot to achieve the effect without regard for inaccuracies and distortions.
