Only time will tell if White Oleander deserves a place next to Mommie Dearest.
The Feds have more evidence here than they have on Pee Wee Herman.
Cradle 2 the Grave is little more than a bad bar joke with no apparent punchline.
Gaspar Noé positions Irréversible as a structuralist countdown, but a structuralist wank job is more like it.
Daredevil is ugly, scattershot, humorless, and completely without grace.
Oh what a tangled web we weave.
At least four of this year’s potential Best Picture nominees share an allegiance with the Weinstein brothers.
After last year’s Return to Neverland, Disney continues to trick audiences into seeing its straight-to-video titles on the big screen.
The film is a tenderhearted evocation of a young Latino boy’s conflicts with girls and his own stubborn family.
Sadists, masochists, wife beaters, and child abusers of the world rejoice.
Hollywood has yet to realize that Jackie Chan’s stellar fighting abilities entitle him to something more than Gilligan status.
The disc’s perfectly serviceable look and sound can’t detract from the power of this devastating humanitarian effort.
Embrace self-help, reject this movie.
Jeffrey Lyons says the film is “undeniably funny.” That sound you hear is the entire world begging to differ.
The cool stunts offer brief respites from the otherwise ugly mise-en-scène and soulless characters.
More than 40 years after its original release, Luis Buñuel’s Viridiana still shocks.
Final Destination 2 reeks of more-of-the-same.
The film conjures images of studio heads wanting to numb young test audiences into submission.
Not sinceMala Noche has Gus Van Sant produced a film so pure, uncompromising, and ravishing to watch.
Kangaroo Jack’s every twist and turn has been plotted with sad desperation.