It movingly posits acting as a metaphor for the search for connection, through visceral texture rather than platitude.
Ti West’s methodical austerity yields in this film the most powerful passages of his career.
The series is crisply staged, well-acted, but only mildly diverting.
The film routinely alternates between episodes that contrast exhilaration with exploitation and damnation.
This brilliantly ironic melodrama is a pivotal work in the creation of film noir.
Based on one of Eli Roth’s parodic trailers, the film is a lifeless treatment of an amusing and unsettling concept.
The series decadently relishes in the objectification of both genders with amusing shamelessness.
Benoît Jacquot’s treatment of the text is devoid of either formal obsessiveness or a contemporary hook.
This terrific neo-noir has been outfitted with a beautiful transfer and no extras to speak of, which is a shame.
Out of the Shadows approximates the coked-up frenzy of a particularly chaotic Saturday-morning cartoon.
The happiest surprise of De Palma resides in its tacit understanding of its subject as a person, subtly and casually demystifying the filmmaking process.
One of Godard’s most arresting and personal early visions served as a pivotal act of brokering his own legend.
Na Hong-jin’s film is a work of thriller maximal-ism, a rare case of more actually being more rather than less.
Ma ma blends a martyred-woman melodrama with a disease-of-the-week tearjerker.
With this classic Hollywood thriller, Altman proved that career rehabilitation can spring from stylishly biting the hand that feeds you.
Even the film’s lapses inform it with a free-associative sense of portent, evoking the stupid things we inexplicably do in our most personal nightmares.
The title of the film could apply to nearly all of Ray’s other films, as it provides a poetic encapsulation of his governing theme.
Preacher values attitude at the expense of plot, theme, and character, yielding a series in which stuff merely happens.
The documentary affords one an unusually intimate glance at the collapsed infrastructure of the former Soviet Union.
The Darkness is so listless that one can’t even work up a proper head of self-righteous steam over the spooky Native American clichés that drive the plot.