Writer-director László Nemes takes us into the Auschwitz death camp one day in late 1944. The camera immediately fastens on Saul Auslander and never lets go.
Just in time to relieve the post-Oscar doldrums comes the reappearance of Orson Welles’s "Chimes at Midnight," the 1966 adaptation of Shakespeare’s Henry IV plays.
Very few historical films have achieved this degree of physical verisimilitude. The bad news? Verisimilitude may be 'The Revenant'’s only great achievement.
The title of Paolo Sorrentino's latest doesn’t refer to a fixed stage in life but to the mysterious inner spark—as much spiritual as biological—that keeps us going.
"Room" is a work of skill, with an interesting shift that says as much about the differences between literature and cinema as it does about the talents involved.
'Spotlight' portrays the Globe’s reporters as heroes, but theirs is a workaday heroism without flourishes or frills. 'Truth,' by contrast, is soaked in personality.
