It may have style, but it’s so reductive that it’s rendered instantly forgettable.
The story is likeable in spite of the mawkish emotional predicaments of his characters.
Decasia is uncompromising, difficult, and unbearably beautiful.
With the release of Anchor Bay’s three-disc Suspiria Limited Edition, Argento fans could finally breath a sigh of relief.
Christine Jeffs’s visual palette is hauntingly poetical, her spare use of dialogue a relentless composite of the film’s suffocating milieu.
Hey, Happy! is the gayest, grooviest sci-fi flick since The Man Who Fell To Earth.
The film is a rollicking paean to the Hollywood and Bollywood musicals of yesteryear.
Time Out is a riveting account of a lone warrior carving out a personal niche for himself in an otherwise onerous landscape.
The film was a match made in hell and a dream realized for many horror fans.
However short Wendigo may be on bloodworks, director Larry Fessenden is an expert mood-setter.
We chatted with the star and director of Piñero about its making and the tragedy of the real-life Piñero’s life.
You know the drill: This year was or wasn’t the best thing to happen to cinema since Thomas Alva Edison.
Black Hawk Down may substitute for a rip-roaring, jingoistic ad for the Army.
Eisenstein lacks considerable brio for a film about one of cinema’s directorial giants.
Parents will yawn and crack a smile here and there while the six-and-under crowd might actually stay in their seats.
The Majestic is Frank Darabont’s pure-hearted Capra riff, efficient retro-Hollywood cheese where the good guy wins
Joe Nobody becomes Joe Somebody after he gives it to the man.
Lasse Hallström’s rendering of place and time is quaint and evocative even if the film, as a whole, moves at the speed of a glacial ice flow.
A film is always in trouble when it has more screenwriters than cast members.
Peter Jackson emphasizes the territorial nature of J.R.R. Tolkien’s Middle-earth by fascinatingly playing with lines of division.