Rachid Bouchareb builds scenes of revolutionary activity into sustained, legible chaos that occasionally produces dazzling results.
There’s no getting around it: Client 9 is a slick piece of work.
Welcome to the Rileys is forever peddling its psychologically reductive message until, at the end, it fairly screams it out.
A Small Act is ultimately less about the triumphs of educational aid than the abyss faced by those children left very much behind.
Eugène Green is fascinated by actress Leonor Baldaque’s eyes, his own rigorous formalism, and the architecture, art, and music of Lisbon.
Only Fernando Eimbcke’s The Welcome Ceremony, the first episode of this anthology film, is a marvel of short-form filmmaking.
Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
There’s something about watching tough guys break down in the movies that’s damn near irresistible.
The film offers instead is a privileged peek into a little pocket of something close to a functioning democratic system.
It’s significant that Isaac is a man defined in opposition to the times in which he lives.
What incentive do we have as filmgoers to spend three hours fighting our way through all this calculated opacity?
Despite Kristin Scott Thomas’s ability to suggest yearning and a touch of manic frenzy behind a mostly masklike exterior, this story is as old as the hills.
Xavier Beauvois’s film is intimately concerned with the distinct forces of religion.
Dull-minded and aesthetically pleasing only in the most academic of ways, the film adds up exactly to the sum of its parts.
More than death, whose physical treatment reached its apotheosis in Everyman, Nemesis is about guilt, the nagging guilt that can leave a person spiritually paralyzed for life.
The film’s first great adventure finally comes to DVD. Could Tih Minh be next?
It’s not hard to see what attracted Philip Seymour Hoffman to Bob Gluadini’s 2007 play.
From the moment Darren and Annie agree to sleep with another person, their downward trajectory is pretty much guaranteed.
Like Antonio Campos’s Afterschool, the film is hampered by its inability to move beyond the obvious.
Heartbreaker’s worst ideas are ripped straight from the rom-com boilerplate.