This life-affirming comedy actually contemplates our freedom from the machine.
Here’s an early Christmas present for that special drama queen in your life. This one is definitely for the faint of heart.
Though not quite as callous as Bless the Child and Stigmata, Gore Verbinski’s anti-art film has been similarly put together with attention-deficit disorder.
The pitch meeting must have gone something like this.
White Oleander is the funniest film since I Am Sam.
Curiously, submission suits Madonna well.
While Blind Spot makes for a remarkable video exclusive, Traudl Junge’s anecdotes overwhelm her feelings of guilt and desperation.
The Transporter is little more than a cheap knock-off of John Woo’s The Killer.
Below turns out to be a water-logged version of every haunted house film you’ve ever seen.
Jennifer Dworkin assembles her film with great articulation and a human compassion worthy of Frederick Wiseman.
Bertrand Tavernier’s explores love and intrigue at the Continental studio with engaging workmanlike precision.
The tagline for Tom Tykwer’s latest could easily read “Krzysztof Kieślowski Rises!”
The film’s landscapes evoke the demystifying horrors of the war.
The French went crazy for it, if only because Michel Moore makes it entirely too easy for the world to laugh at America's troubles with the gun.
Waiting for Happiness is an elegiac portrait of a transit city on the West African coast struggling against foreign influences.
Turning Gate is built on a series of repetitions that mirror Hong San-soo’s fascination with reincarnation.
Divine Intervention is very clear about the conflict in the Middle East being one big farce.
One could say it resembles punch-drunk love.
Though any number of scenes from the film could count as some of the wittiest of the year, the overall patchwork lacks emotional resonance.
Like Wiseman, Nicolas Philibert allows the subject matter to speak for itself.