Offers a few standout moments set adrift in a sea of underdeveloped characters, incomplete backstory elements, and abbreviated world building.
More often frustrating than successful, this is a generic neo-noir buddy cop movie that misses too many opportunities to do anything different.
The movie does many things - some are wrenching, some pose unanswerable existential questions, and some make one wonder whether the film should exist in the first place.
Exists as a reminder not only of a time when filmmakers had more latitude but of the types of production that would find little traction in today’s changed cinematic marketplace.
The most accessible of Soviet director Andrei Tarkovsky’s films, it relies more on mood and atmosphere than narrative and character.
There are flashes of the existentialism captured by Alfonso Cuaron in "Gravity," although the 2013 film was superior to this one.
A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be splashy but it tugs effectively at the heart strings.
Lackluster and restrained, it employs a dull story to present a message about the importance of diversity and the evils of assimilation.
Doesn’t embody the standards nor incorporate the tropes one associates with escape films yet, in its own quiet, insistent way, it’s as good or better than most of them.
The autumn movie season has a history of hosting impressive, thought-based science fiction movies. To that list add "Ad Astra," a film that uses space exploration as a means to look inward at the essence of humanity.