Power and Misogyny in 'Red Sparrow'

Red Sparrow isn't a great spy thriller, but it's a fascinating take on women fighting for control over their own bodies.

                                      
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Red Sparrow isn't a great spy thriller, but it's a fascinating take on women fighting for control over their own bodies.

The world of The Duchess should have been one of fiery tumult, but little of that foment makes it into this film’s garden party landscape.

The movie, which surely celebrates Georgiana's (Keira Knightley) luxurious "hats and dresses," also solicits your sympathetic frustration and outrage over her oppression.

From wars both past and present to a number of nail-biting thrillers, September is sizing up as a potentially profitable one.

The fact that Aurora incarnates some extreme other possibility -- be it "light" or darkness, miraculous birth or genocide -- makes her one more "mother of the future."

Talk about a crowded schedule. There are more offerings scheduled this month than in the previous two combined.

In an era of relatively reserved American cinema, when most actors would be concerned with their images as leading men, Newman was not afraid to experiment and go with his artistic impulses.

With their newfound sexual empowerment gradually eroded by disillusionment, the women are finally predictable.

As in the first film, this premise -- that Catherine's plot is a series of lies -- is mildly interesting.

For all the inevitability of Will's descent, I'll Sleep When I'm Dead is an almost perversely moving experience.

This whale also has special powers, apparently, as he can tell whenever someone is leaning out of Nolan's boat, and so jump right up and swallow him whole.

Will (Clive Owen) is a menace, even to the bad guys.

The Statement is a rarity: a serious, politically-minded thriller.

Julie becomes Sarah's muse, her model, her irritant.