The story is likeable in spite of the mawkish emotional predicaments of his characters.
With the release of Anchor Bay’s three-disc Suspiria Limited Edition, Argento fans could finally breath a sigh of relief.
Decasia is uncompromising, difficult, and unbearably beautiful.
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.
We chatted with the star and director of Piñero about its making and the tragedy of the real-life Piñero’s life.
Black Hawk Down may substitute for a rip-roaring, jingoistic ad for the Army.
You know the drill: This year was or wasn’t the best thing to happen to cinema since Thomas Alva Edison.
However short Wendigo may be on bloodworks, director Larry Fessenden is an expert mood-setter.
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
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.
Joe Nobody becomes Joe Somebody after he gives it to the man.
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.
The film’s lackadaisical view of market research suggests truth lies in public acceptance.