Criterion does right by Olivier Assayas’s lovely tone poem, his best film since Late August, Early September.
Films that try to convey a state of disorientation live and die by their central metaphors.
The past may be decomposing, but the kids are all right.
Gus Van Sant’s haunting and immediate Paranoid Park understands adolescence as a kind of first draft.
The last third’s attempt to frame the drama as King Lear-level tragedy plays as an unnecessary reach.
In the interlude between disaster and reconciliation, Éric Rohmer treats the audience to various symposiums on the nature of romantic fidelity.
The image is a little more saturated than I remember seeing in the theater, but the stylized look comes across beautifully.
In the audio department, the film curiously gets nothing more than a mono track.
The setup for John Singleton’s latest urban drama is pure western-movie lore.
This year’s most celebrated Sundance smash, Hustle & Flow is little more than a calculated bid for Hollywood megabucks.
The Interpreter wants nothing more than to be tasteful.