Opposition to authority in Peter Weir’s coming-of-age dramedy consists of the kind of life advice that should remain on Hallmark cards.

Sound and dimension are used to their fullest extent to disorient Monsieur Hulot, as well as the audience, in the intricate metropolis of this macroscopic comedy.

You have no reason to see this ugly and deeply uncomfortable mistake of a film.

All is not lost in a world where Aardman hangs onto its status as a wholly original animation house that gets to make shorts like this.

No one will come away from this movie respecting Ray Kroc, but in the hands of John Lee Hancock, no one will be pushed to excessively question capitalism either.

Literally, it actively refuses to be understated or relaxed, it will not slow down.

Kristen Stewart’s performance in this fable is fully captured by Pablo Larraín’s surreally tense direction.

Politics are supercharged in the director’s latest feature, but so is the dollhouse.

Tarantino directs a movie too stylish for its own good in his obsessive effort to revive the glitz and glamour of a Los Angeles which never existed.