In Danis Tanovic’s No Man’s Land the war in Bosnia-Herzegovina is transformed into a Beckett endgame.
Now here’s a sadistic bike-centered flick that would have made Vittorio De Sica proud.
Tony Scott knows how to put on a good show.
Cameron Crowe’s finale is visually chilling if only because the WTC makes its most apt, post-9/11 appearance to date.
There’s absolutely no reason why Gil Junger’s Black Knight should work.
As far as stuffy Oxford dramas go, Harry Potter and the Sorcerer’s Stone has them all beat.
After the tired Mametisms of Heist and the dopey repartee of The Score, Ocean’s Eleven must count as a breath of fresh air.
The only misstep in Shallow Hal is that it naïvely explains its titular chauvinist’s superficiality as product of saucy father love.
The film’s humor is snappy, its attention to detail outstanding.
The film is perhaps best enjoyed by those new to Dargio Argento.
Imagine if you will American Beauty in the hands of Bob Villa.
The Simian Line makes you choke on its old-fashioned, spiritless dust.
Ernest R. Dickerson’s Bones out-funks all horror films currently on the market.
This ready-made house of cards owes entirely too much to the likes of Hitchcock, Mamet, and noir magpie Tarantino.
Richard Kelly’s debut feature is a tale of adolescent angst ripe with enigmatic sci-fi underpinnings.
The Man Who Wasn’t There is a Cold War tragedy about a man who is as invisible to the world as he is to himself.
By virtue of existing on celluloid, Tape is cinematic.
Sandi Simcha Dubowski seemingly touches on every facet of a complex dilemma with a restraint that’s admirable.
If you like comedy, don’t miss K-PAX. It’s a hoot!