By the end, audiences will most likely feel as if they’ve been locked out of the drama that’s presumably unfolding right in front of them.
The Lady from Shanghai plays as a rough draft for Welles’s Touch of Evil.
The penultimate episode of Coven finds the series still desperately scrambling to introduce busy conceits.
It suggests that Girls may be undergoing a tricky transition that somewhat accounts for last week’s growing pains.
Cat People’s fleeting pleasures are solely dependent on your ability to discern those curves, and those deep, deep eyes.
Throughout, Joe Swanberg connects Generation Y’s fetish for past pop-cultural kitsch to its attending sexual insecurities.
The generally diverting Rake often recalls the one-damn-thing-after-another eccentricity of Carl Hiaasen’s comic crime novels.
It’s fair to say that Coven has evolved in a fashion opposite to that of the prior Asylum.
You may feel as if you’re watching two or three abbreviated episodes of Law & Order in quick succession rather than a fully realized movie.
The opening pair of episodes, both directed by Lena Dunham, pointedly denies the titular foursome of much of anything resembling sympathy.
It behaves as the TV equivalent of what Quentin Tarantino once deemed a “hang out movie.”
It’s dada high-wire act presided over by quasi-satirical nutters, and the chaos they invoke is oddly life-affirming.
A sterling presentation that’s been produced with an eye toward drawing budding new fans.
Paranormal Activity: The Marked Ones is several reels’ worth of ugly, unshaped footage that wouldn’t have been deemed fit for a movie’s end-credit outtakes not so long ago.
Fans of the ever-rare “were-cicada” strand of horror film can now own the entire subgenre with this well-produced package from Shout! Factory.
Shout! Factory has rendered this strange and forgotten Klaus Kinski Nazi horror-comedy by David Schmoeller just a little easier to love.
Von Sternberg’s ever-weird first collaboration with Marlene Dietrich is a historic early sound film.
Asghar Farhadi navigates his complicated narrative thicket with an apparent ease, but he isn’t able to blend the brushstrokes as he has in prior films.
This week’s episode of Coven steers the series into unexpected and retrospectively logical narrative and thematic directions.
To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.