The only truly graspable notion the film can be said to put forth is one of increasingly tedious sci-fi-romantic genre busy-ness.
The film doesn’t live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
To enjoy the film, you’ll have to be able to push a lumbering, hypocritical white elephant out the nearest door.
There’s a moment late in “The Replacements” that indirectly addresses a curiosity I’d already had in regard to Coven.
No supplements to speak of, but this disc, more importantly, honors the considerable A/V merits of a future genre classic.
Writer-director Jason Banker finds the ironic beauty that arises from his characters’ self-contemptuous and misplaced acts of destruction.
One of Harrington’s most accessible films, Night Tide is less a horror movie than a beautifully despairing love poem of missed opportunity.
It finds creators Ryan Murphy and Brad Falchuk settling into a relative groove after bursting furiously out of the gates last week.
Seitz coaxes perception-altering sentiments out of Anderson by pointedly playing right into his persona of the wounded naïf intellectual.
Kino has taken some imperfect yet heroic steps to restoring Orson Welles’s The Stranger in all its brilliant, subversive grandeur.
Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats.
American Horror Story has evolved over the course of two seasons from a reliably lurid soap to a sophisticated work of despairing protest pop-art.
This transfer of Dolan’s bracing melodrama is just okay, but the good news is that Laurence Anyways is now widely available in this country.
The film is just a stunt or, more specifically, a calling card, but that might be enough for anyone who’s ever wanted to kick Mickey Mouse square in his padded, pious balls.
There’s possibly no other living director as in sync with the politics of touch as Claire Denis.
This is an otherwise solid presentation of a beautifully perverse noir staple.
Breaking Bad’s series finale, “Felina,” fulfills the implications of last week’s “Granite State.”
A filmmaker is thinking outside of the box when they stage a scene in which an ambulatory hemorrhoid tears a guy’s cock off with its teeth and swallows it.
The film is dispiriting because there’s virtually no sign of Dario Argento in it.
Shout! wasn’t quite able to rouse itself up to its typical standard with set, which is understandable considering the dullness of the films.