Narcissister boldly skirts convention personally and artistically, and so does the film, by assembling a cogent narrative from acutely disparate parts, to explore her mother as the primary relationship of her life and inspiration for her art.
What might be considered devastating or dead funny here will be highly subjective, but none of it captures the wit of producer Eminem’s “Slim Shady,” which rolls under the closing credits.
Trading “Dueling Banjos” and gut-wrenching tension for haphazard plotting and an impromptu group singalong of an original folk tune, the results are disappointing on a number of levels.
The film’s disparate elements add up to less than the sum of its parts, and this would-be fiery take on the failures of the American higher-education system never really ignites.
On the strength of its authentic storytelling voice and galvanizing lead performance, The Hate U Give delivers a powerful message that all the rallying and rioting and impassioned pleas in the world won’t change anything if they fall upon deaf ears.
The whistleblowers of the NYPD 12 definitely deserve a comprehensive chronicle of their struggle for justice, as their struggle affects so many. Crime + Punishment speaks well on their behalf, but not emphatically enough to close the case.
the film, set in 2009, misses its comic target by a mile, resulting in a dumbfounding collision of unsympathetic characters always choosing the most moronic thing to do in any given situation.
At any moment, We the Animals might look and sound gorgeous—yet the film unfolds with a naturalistic pace that plods like a too-lazy summer day. This gorgeous view demands ample, ample patience.
