The documentary filmmaker, even when trying to remain passive, cannot help but comment on the action. How he captures, chooses and arranges the moments that comprise his film creates a tone, an attitude toward his subjects. Of a nearly infinite number of possibilities, he chooses one.
“Bridge of Spies” begins as a quiet film of footsteps and misdirection as we watch a game of cat and mouse between FBI agents and a Soviet spy. Edited with the patience of a ’70s espionage thriller, it dares to make you wait. Dialogue and music are replaced by the patter and bustle of streets and subways.
Whitey Bulger is not the average gangster, so it’s fitting that “Black Mass” is not an average gangster film.
In the seven years since David Foster Wallace’s death, the author’s legend has grown to immense proportions. Known for his dense, hyperactive essays and novels, Wallace has become an archetype of the tortured genius.
Action sequences in “Furious 7” follow the series’ recently developed tradition of physics-defying car actions.
Deemed the most lethal sniper in American history, Chris Kyle embodies the most patriotic and heroic values central to any famous war hero. Yet, as director Clint Eastwood is determined to show, he is not without his demons.
Phil Lord and Chris Miller don’t make movies; they make miracles. Taking Hollywood’s most cynical, profit-driven ideas and injecting them with undeserved doses of wit and humanity, they violate every maxim that relates art and commerce in Tinseltown.
What fills Christopher Nolan’s mind when he looks up at the stars? We know Kubrick ponders the nature of existence; Ridley Scott has nightmares of spacecraft turned to death traps; Michael Bay dreams of robots.
The boundaries between fiction and fantasy are not incredibly clear in this movie, and that’s the fun of it all. As Thomson, Keaton is hilarious and disturbing, incredibly grounded and yet fantastical.
You don’t really know anyone in “Gone Girl,” at least until the film’s litany of tricks and twists and turns run its course. “Gone Girl” begins as one film and ends as another, with a radical shift thrown in the middle for good measure.