The film is every bit as critical of its lecherous, hypocritical German society as it is with the victims who seemingly perpetuate their own damnation.
The similarities between this absurd tragicomedy and Buñuel’s Él, itself a precursor of sorts to Hitchcock’s Vertigo, are unavoidable.
The great irony here is that the film’s victimizers exhibit the very uncivilized behavior they see in Emmi’s marriage to Ali.
Fox and His Friends is first and foremost a riveting evocation of social Darwinism in action.
Best Picture Oscar-winner Chicago gets a no-frills package on this DVD edition.
Too bad that the crummy cover art may deter some prospective buyers.
A bare-bones DVD treatment for yet another shallow entry in Vin Diesel’s mostly intolerable acting resume.
Not since last year’s Vanilla Sky has Paramount offered the kind of top-notch video and sound transfer available on this DVD edition.
The lecherousness of Victor Salva’s gaze has a way of spilling over onto the entire production.
Meirelles discusses how City of God has taken on a life of its own as a work of political activism.
None of the film’s performance artists are talented per se, but writer-director Greg Pritikin doesn’t see his characters as pathetic.
Tarkovsky negotiates the easing of class struggles through the friendship between artist and worker.
Shaolin Soccer’s multimedia madness is so excusable because most of its antics are actually more crude than seamless.
The film comes down to a series of operatic, sometimes campy examinations of questions pertaining to free will, chance, cause and effect.
If you wanna be my lover, you gotta get with my friends, make it last forever, friendship never ends.
If you’re reading this, you know that the definitive, extended DVD edition of the film is still a few months away.
Malkovich ultimately pushes the film so far into an emotional void as to render it completely useless.
A low-profile DVD for sure, but you’re probably just buying this disc for yet another Christopher Walken scenery-chewing smackdown, aren’t you?
At best, the film’s first 40 minutes bring to mind the kooky splendor of David Lynch’s Twin Peaks.
The film shows off Gordon Chan’s remarkable ability to transcend the sheer ineptitude of his material.