Remember when it was cool to make fun of Barney and scream “whassup” when charging into a room?
Clockstoopers is unusually fetishistic for a film so skittish about swapping saliva.
A pristine example of rock-solid studio filmmaking getting the professional treatment on DVD.
The Rookie: rated G for gooey godly wholesomeness. May cause drowsiness.
Frailty is especially difficult to pin down for a film that feels like just another kooky thriller with a trick pony up its sleeve.
It’s all about the opening credit sequence and Jodie’s slow-mo dashes into the panic room. That and those elegant wine glasses.
Ripped of her humanity, Sylvie Testud’s Christine becomes a working stiff of Greek proportions.
Number crunching is in this year at the Academy Awards and it’s not just those pesky accountants.
Dario Argento’s films are like stained glass windows ready to shatter and slice the unsuspecting spectator.
Before Sorority Boys there was Soul Man and before Soul Man there was Just One of the Guys.
Utopian without the naïveté, George Washington posits the possibility of a racially harmonious South.
It almost seems silly now to think that George Washington, last year’s little-film-that-could, was actually rejected by Sundance.
At the very least, Zoolander is the most superficially good looking DVD of the year.
If you listen carefully, you might be able to hear the kettle-fried pork rinds crowd rejoicing.
Only Michele Soavi has ever come close to matching the breathtaking awe of a hyper-stylized Argento set piece.
The amount of information available on the A.I. two-disc set is remarkable.
The Church is certainly one of the more successful Argento riffs ever made.
Michael Haneke’s latest torture mechanism is less funny game than daunting debasement ritual.
If anything, Resident Evil is true to its munch n’ crunch PlayStation origins.
Scrat, a prehistoric squirrel eternally struggling for an acorn, is a howler of a scene-stealer.