The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
It often exhibits an interest only in the accrual of incidents, which eschews psychological shading.
The film steers clear of bad-faith miserabilism by virtue of Richard Billingham’s from-the-gut specificity.
The film celebrates the unrecognized willpower and perseverance that undergirds low-wage service work in this country.
The film is a fine example of Wilder’s mid-career eccentricity and cosmopolitan curiosity.
The droll world of Joel Potrykus’s Relaxer is defined by feats of man-child pettiness.
Kino has delivered a set that admirably preserves the delicate effects of Tarkovsky’s seventh and final film.
The film admirable in its defiance of recognizable modes and its naked showcase of Dumont’s exploding imagination.
In every scene, the film’s cutting is dictated by the turbulent pace of the characters’ inner lives.
In a move that reaffirms its structuralist concerns, the film concludes on a bald-faced homage to Wavelength.
If nothing else, writer-director Hlynur Pálmason’s film is a feat of formal conception and craftsmanship.
If Sylvie et le Fantôme is bittersweet in its lack of consolation, Douce, the standout in this Eclipse bundle, is downright dirge-like.
Filmmaker Travis Wilkerson ambles across the heart of Dixie to restore some dignity to a murdered man’s life.
Movement and progress are the organizing principles throughout Abbas Kiarostami’s 24 Frames.
The film’s tension between ethnographic ensemble study and thesis-oriented docu-essay is irreconcilable.
The final optimism of the film’s worldview lands with a conviction that’s rare in contemporary Hollywood cinema.
It reveals itself as vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff.
The primary model for Jared Moshe’s The Ballad of Lefty Brown is a particular strand of postwar western.
Fellini’s extravagant final film is a charming reminder of a lost giant and a lost style of moviemaking.
The question of whether art and artist can possibly be detached from one another looms heavily over the film.