Surrogate Valentine is something of a buddy-road-trip movie as well as a sliver of a romance.
It’s the peculiar nature of art that it can be produced by people in any set of economic or social circumstances.
The Loneliest Planet is one of those films that feels perpetually as if it’s building up to some dreadful act of violence.
Gabor Kalman’s There Was Once… is a not insignificant act of oral history.
Criterion’s strong presentation of Chabrol’s Les Cousins is a fitting testament to the late director’s brilliance.
White Wash feels simultaneously dense with information and analysis and as pleasantly breezy as a day at the beach.
The film is agreeable in everything but its treatment of Helena Bonham Carter’s monstrous embodiment of lower-class pettiness.
It traffics in a sort of vague, half-defined spiritual questing. It also deals in an opposites-attract romantic plotline between a pair of chemistry-less leads.
If Ancient & Modern can’t stand up to the band’s best efforts, it’s more than a worthy addition to an imposing body of work.
Mark Toma’s film just indulges in grotesque hijinks for their own sake.
In Kaspar Heidelbach’s project, aesthetics mustn’t get in the way of the easy outrage the film aims to trigger.
Tom Tykwer’s 3 is a smidgeon film.
The film follows the fate of two (adoptive) brothers over the course of several decades in the British Concession of Shanghai.
Tanner Hall isn’t so much kaleidoscopic, episodic drama as underdeveloped, perfunctory multi-character mash-up.
Benny Chan’s Shaolin both benefits from and is ultimately defeated by its own epic ambitions.
Ludivine Sagnier and Kristin Scott Thomas are the reasons to watch Alain Corneau’s overly convoluted Love Crime.
Has the so-called Romanian New Wave slowed to a trickle?
If the film clearly courts Gump-ian territory, its pattern finally bears a stronger resemblance to Teorema.
As you’re swept up in all the decades-spanning poignancy, it’s easy to overlook the film’s numerous flaws.
It’s a quiet, intimate film, the exact opposite of the alternatively bombastic and analytical orientation of Marco Bellocchio’s Vincere.