There’s a painful sense of loss and remorse all over the band’s mournful, jazzy numbers.
The Blair Witch Project is most remarkable in its evocation of myths refusing comprehension.
This is an existential thriller about dreams and imagination that teases and perplexes more than it actually provokes.
Oliver Stone’s film moves with the testosterone-fueled aplomb of its subjects.
Sam Mendes’s slick American Beauty doesn’t age well.
So much happens during the film’s finale that it all borders on the absurd, begging for a tamer denouement.
The film employs a surrealist vernacular that owes plenty to Buñuel and Svankmajer.
The film is an affecting ode to the female spirit, the maternal instinct, and the craving for melodrama.
This purposefully disturbing film, like Kids and Bully, is nihilistic and highlighted by Larry Clark’s singularly gonzo sense of humor.
Our Lady of Assassins is noticeably heavy-handed, though Barbet Schroeder goes easy on the neo-realist pretenses.
Les Mayfield’s film is brain dead but fun, an Abercrombie & Fitched look at frontier life.
Cheap effects and gratuitous displays of nudity only heighten the film’s delirious demeanor.
The only thing fun about the events depicted here is watching aging B-list stars making A-list fools of themselves.
The film amounts to a dullard’s comatose trip to an isle ready for political upheaval with a little help from a mandolin-playing Benigni drone.
Kevin Smith’s latest comedy is compact, rambling, and consistently funny.
Shakespeare’s Othello meets Columbine in this messy little teen drama.
Walkabout suggests that the precarious relationship between industry and nature isn’t so easily reconciled.
Jackie Chan lost his grace years ago and Chris Tucker has the voice and personality only a blind/deaf canine could love unconditionally.
No war film has matched Francis Ford Coppola’s madly overcooked polemic.
Where Todd Solandz walks and oftentimes crosses that fine line between provocation and exploitation, director Michael Cuesta rapes that line.