Bradley Whitford

What remains most striking about Philadelphia may be the...conspicuous emphasis on intense close-ups. They force an inescapable emotional intimacy in relation to issues the mainstream, at least at the time, would rather have looked away from.

It’s all so dully realized that we grow starving for idiosyncratic detail, desperately latching on to Williams’ love of ketchup or his drunkenly being tickled pink by his new garage-door opener.

What's most interesting about Get Out is how it taps into the same idea to fuel both its comedy and horror: the recognition of social truths.

The CGI creatures impress—a star is reborn in Mothra...It’s just unfortunate that the picture as a whole lumbers a lot like its forty-story star.