The film gets off on gender-fucking the conventions of romantic and caper comedies.
Chaplin’s film is now a treasure of Depression America’s zeitgeist and the curtain call of the movies’ first comedic icon.
Love & Other Drugs is an unwieldy mélange of genres and agendas, alternately gutsy and lamentable.
The uningratiating, forceful Lotte Verbeek and the virtuosically sad-sack Stephen Rea make a watchable pair of adversary-allies.
At least Diane Keaton, fleetingly vamping with 50 Cent or kissing a frog, seems like a plausibly fun breakfast anchor.
A no-frills package for a second-tier Tennessee Williams work, but the play’s the thing.
A Marine Story defuses any political or dramatic power with plodding exposition and frequent, lurid leaps into cheesy B-movie conventions.
The film is less manic, goofy, and memorable than an Oliver Stone spin on the Wilson-Plame affair would likely have turned out.
Psycho’s power is not just that of a showman’s calibrated scare machine.
Wild Target is occasion for regret mostly because the poised, droll Bill Nighy is all dressed up with no place to go.
Urville hits its notes of whimsy a bit too heavily, but it gives eloquent voice to human fears and resilience.
Needed less Psychology for Dummies, more wooden dummies.
An exhaustive double-disc that suggests the unique circumstances of a production can make for a more compelling tale than the resulting film.
Stuart Schulberg’s aesthetic is taken from the newsreel, but it’s relatively free of March of Time-style hyperbole.
This representative showcase of a great comedian is simple and efficient.
As a chaser to Ben Affleck’s last offering of pungent Beantown brew, the film is a near-beer.
Lionel Rogosin’s landmark film vividly capturing a vanished New York milieu and a persistent human phenomenon.
Isabelle Carré’s cool, calm star turn keeps Hideaway anchored in moment-to-moment reality.
George Clooney’s persona goes “dark” with a vengeance in Anton Corbijn’s The American.
A thorough, focused study of the first major films of an artist who “wrote with a camera.”