Some people’s stories are so interesting that a book or a movie adaptation alone simply won’t suffice.
Despite the ever-lurking presence of death, Andrzej Wajda’s in a playful mood throughout, having fun with his legacy.
Police, Adjective is really two movies, varying significantly in their degree of success.
Henry Jaglom’s father obsession ultimately threatens to sink his project into something approaching self-parody.
Eventually the interviews open out beyond these rigidly structured segments, seeping over into the territory of the characters’ daily lives.
Franny Armstrong’s outsized ambitions threaten to dissipate some of the movie’s force.
The film is both an act of historical remembrance and an interrogation into the methods of history’s representation.
Alain Resnais’s Wild Grass is cute stuff—maybe too cute.
For all its flights of cinematic fantasy, the dominant note struck by A Room and a Half is a melancholy borne of separation.
A portrait of the artist as seen through his own words and actions, the documentary stays close to its subject.
Redneck humor is alive and not so well in Skiptracers.
Whatever glamour there’s to be found here is imperfectly conveyed to the audience because of a scarcity of suitable archival material.
A token of escape that will never come, a souvenir of a remembered past.
The film draws on a little-known historical footnote as the haunted backdrop for an otherwise tepid contemporary drama.
To hear the advertising executives and creative directors in Art & Copy tell it, the ad game is a thing of wonder.
Sikandar is a morality play set amid the moral quagmire of contemporary Kashmir.
Earth Day is both a patchwork history of the American environmental movement and an unhysterical call to consciousness.
Until its fizzle of a finale, Ponyo brims forth with an appealingly willy-nilly inventiveness.
Sexual awakening isn’t just for the young anymore.
Long before the end, the filmmakers seem to pretty much lose all interest in probing the true nature of love.