Shadows, the third feature from celebrated Macedonian director Milcho Manchevski, is in many respects a masterful bit of filmmaking.
Cristian Nemescu’s California Dreamin’ plays out with an impressive singularity of purpose.
Throughout the film, director Doris Dörrie’s kitsch-inflected visuals stand out as little more than self-conscious efforts at image-making.
There’s plenty here to keep the attention of both stoners and cinephiles alike.
If nothing else, the legacy of the Holocaust feels very much alive in Paul Schrader’s picture.
Nacho Vigalondo’s film wastes little time in foregrounding the act of seeing.
The film’s enduring image remains that of the nude director cuddling up to a nubile beauty and talking her ear off.
The film is at once too historically removed from its subject and too hysterically committed.
There’s a certain lurid fascination at play in Damian Harris’s fictional account of the abduction and sexual abuse of an eight-year-old girl.
In Let the Right One In, the only thing more horrifying than the insatiable bloodlust of the undead is the everyday terror of adolescence.
Joe Swanberg and Greta Gerwig’s efforts seem calculated to discourage enthusiastic amateurs from getting anywhere near a camera.
Last Laugh can really best be understood as a horror story.
A striking vision of contemporary horror finally presented in its original version.
Roth makes clear the ways in which this predominant conception of female non-sexuality and general passivity is shown to have enormously devastating effects.
The tensions inherent in the film’s split personality work in its favor.
Maybe you’ve heard this one before.
All of Us can’t help feeling hopelessly slight despite its obvious good intentions.
Takashi Miike’s Sukiyaki Western Django fits firmly into that increasingly popular tradition.
Until about two-thirds of the way in, Save Me plays its central hypothesis surprisingly, um, straight.
It would be hard to imagine a less necessary Holocaust picture than A Secret.