Much of the joy of watching it comes from the surprises its narrative offers, and I’d be remiss to spoil the particulars.
If you can’t manage something beyond your means, just scale it back and keep it physical.
A lavish, high-caliber release of four blockbuster classics.
Co-directors Pascal Arnold and Jean-Marc Barr do all they can to make their film seem edgy.
If The Loved Ones takes the easy route, it at least makes sure to deliver the goods.
This isn’t exactly Tom Sizemore’s homecoming blockbuster, nor is it a concerted, Mickey Rourke-style effort to reestablish his worth as a serious actor.
Redlegs just coasts on its vérité style, offering meandering snatches of three men arguing, fighting, smoking, and swearing.
This 25th anniversary edition of Gremlins is an adequate presentation of a great film.
One wonders who the audience is for a film this far removed from the dirt and grime of the reality it claims to be based on.
Be wary of any film whose purpose is to punish its protagonist.
Many films are saved in the editing room, but how many are ruined there?
One of last year’s best but most woefully misunderstood films, Shame gets a Blu-ray exemplary enough to warrant a second look.
The film isn’t strong enough to support the weight of its interviewees’ shared experience.
Broadly speaking, it’s the best work of its kind since Mark Rappaport’s From the Journals of Jean Seberg.
All of Womb’s affected quietude just smacks of posturing.
Losing Control is a poor approximation of a genre built around artifice and cliché.
The film’s familiarity yields a degree of comfort, and like most genre exercises comfort is precisely the desired effect.
Patriocracy strains so hard to convey objectivity that in the process it’s deceived even itself.
All that the film has to show for itself, in the end, are clichés and bills.
What Bullhead ultimately lacks isn’t balls, but insight and empathy.