The film fulfills its mandate, even if it indulges in a bit too much RFK Jr. veneration along the way.
Kôji Wakamatsu’s achievement is to show us how violence can turn as easily inward as it does out.
There’s nothing strange—or in any way extraordinary—about this dim-witted bore.
The filmmakers showcase an art form diverse enough to include a panoply of styles and methods.
Anthony Burns’s film adopts a loose, freewheeling tone that aims to privilege people and place over plotting.
The First Grader is marked by moldy sentiments and even moldier filmmaking.
The film is a low-rent neo-noir propped up by descriptions of, rather than depictions of, sexual kink.
If an axe is nailed to the wall of a third-grade classroom in the first act, it must draw blood by the third.
The film plays up disagreements for the majority of its running time only to resolve all dissension in time for the concluding nuptials.
Koji Wakamatsu’s brutally effective Caterpillar is no simple tale of the dominated become the dominator.
Mariano Llinás shows that storytelling is as much about withholding as it is revealing.
Sympathy for Delicious does everything it can to disguise the fact that it’s ultimately a Christian morality play.
Shinji Imaoka’s movie is really a love story—and a halfway convincing one at that.
Aerial footage as a documentary tool can be intensely problematic, particularly when used as a film’s chief visual component.
Steve Coogan and Rob Brydon’s shtick works best in small doses.
Michael Rapaport’s film is as much a “Where are they now?” as a “Why did they matter in the first place?”
Exodus Fall is a road movie in which, once out of Texas, nothing bad can ever happen to our children.
When David Dusa sets aside his bolder visual ideas and focuses on his characters, he shows a unique understanding of young lives in exile.
For the inquisitive documentarian, there are no shortages of hidden pockets of despair littering the forgotten corners of the United States.
The characters and situations surrounding the main character are given no less vivid, detailed treatment by Bertrand Tavernier.