The film isn’t about dance so much as it is about the virtues of assimilation.
Wild River is the most successful example of how Elia Kazan liked to contrast actors.
Since there’s no doubt that a beefier DVD package of The Blind Side is on the way, it’s easy to write off this barebones release as a shameless cash-in.
A Holocaust documentary with good information and unremarkable insight.
A silent film actress widens her eyes and viewers’ minds.
Cuadrado adds another bad entry to America’s J-horror canon.
The Aviator’s Wife is valuable for being perhaps the most stifled movie that Rohmer ever made.
To Grandrieux, people are figures in landscapes, in fact parts of the landscape, so that the films literally become action painting.
A mysterious, handsome man lures women to their doom.
Like fellow French film essayists Chris Marker and Agnès Varda, Luc Moullet is extremely playful.
The secret passion of the cinephile is to find a hidden treasure.
Formosa Betrayed’s an appropriate movie for America’s current political climate.
Perfect Life is a panoply of perfect, perfectly repulsive moments.
Someone recently told me that film and video artists produced 2.5 billion hours of viewing material last year.
Throughout his life several of Truffaut’s deepest relationships were with movies.
Rustam’s James Dean: Race with Destiny is a ludicrous movie, but I’m glad it exists.
Two adaptations of works by a masterful author, one pretty solid and one far below masterful.
The film is simultaneously gut-churning, heart-wrenching, and head-thunking, a smorgasbord of alienation and detonation.
Wanda Sykes’s concert act both provokes and stimulates, but nonetheless leaves much to be desired.
François Truffaut wrote that Welles made two kinds of films, those with guns and those with snow.