Catch it if you can.
Martin Scorsese’s Gangs of New York could be considered a breakthrough or a breakdown.
Narc earns comparison to landmark ’70s police thrillers like The French Connection and Serpico.
It isn’t an infuriating film until you comprehend how it works to pacify the tea-and-crumpets fanbase.
With all of its oversights and indulgences, 25th Hour is still a persuasive, undeniably fascinating film.
Martin Scorsese visited early New York, Paul Thomas Anderson put Adam Sandler in a Jerry Lewis suit, and Eminem returned to his Detroit roots.
Narrative takes a backseat to a sometimes frustrating, sometimes fascinating study of Samantha Morton’s face in Morvern Callar.
The gears of sentimental uplift are effectively oiled in Bruce Beresford’s Evelyn.
The film aggressively courts Latino viewers by playing exactly to the prescribed notion of what movie studios think “urban” audiences really want.
The film could have easily been titled Dead Roman’s Club had its makers wanted to be a little more accurate.
Only in its final surprising shots does Rabbit-Proof Fence find the authority it’s looking for.