Danièle Thompson’s skillfully executed comedy of manners is either deeply profound or insupportably shallow.
The filmmakers have caved to the prevailing mindset and relegated jazz music to the aesthetic graveyard.
Robert Guédiguian’s French resistance drama evinces some interest in assessing the ethical compromises required of those opposing Nazi rule.
Whereas Nazi films aimed to obscure the dividing line between fact and fiction, A Film Unfinished aims at clarification, at analysis.
With Peepli Live, Anusha Rizvi seeks to prove that the Indian media is no different from its Western counterparts.
Fifteen years after Larry Clark’s controversial feature, the Kids still aren’t all right.
The film has enough of the crudely exploitative to make it feel like a decisively unwholesome entertainment.
For Cairo Time, Egypt is necessary as a barometer by which to test its main character’s attitude toward a different culture.
Never has a rock ‘n’ roll figure’s mythology been so out of proportion to his musical achievements as in the strange case of Sid Vicious.
Sometimes the truth doesn’t set you free.
The fear-mongering Countdown to Zero makes the case for the myriad possibilities of imminent nuclear detonation.
One of the great documentaries of the last decade.
Everything in writer-director Marta Mondelli’s The Contenders has an air of obscurantism.
Marked by a hushed stillness, Pedro González-Rubio’s film is sensitive to the rhythmic repetition of daily activity.
Criterion has long shown its commitment to late Ozu. With this valuable release the picture widens.
On DVD, the film is now worthwhile for Tom Ford’s baby’s-first-movie commentary track.
The Great Directors is at the very least a breezy bit of cinephiliac entertainment.
What happens when the worst tendencies of a poor screenplay are exaggerated by labored and unimaginative direction?
What is it with Gen-X men and their nostalgia for the machismo-fueled entertainments of their youth?
For the workaholic subject of Ricki Stern and Annie Sundberg’s fascinating cine-portrait, she’s never more herself than when she’s acting.