The film, through its spectacular dance sequences, advocates an ethos of polite remonstration.
Throughout, the actors grippingly and fearlessly delight in etching their characters’ incompatible agendas.
The father-daughter relationship at the heart of the film is hauntingly rendered as a prickly knot of animosity and tough love.
Robert Lieberman’s Perverted Justice advert spins its wheels with scene after scene impatiently cut like a montage sequence.
After Life During Wartime, Dark Horse feels like a regression for Todd Solondz.
The film updates the fairest fairy tale of them all with more-grim-than-Grimm conviction.
Both literally and figuratively, Piranha 3DD lacks guts.
Lovely Molly merely adheres to contrived, predictable views of how the abused process and cope with grief.
For a spell, the film gets by on its unpretentious flair for atmosphere, even its disconcerting nonsensicality.
The title alone invites you to cuss at this smug film out.
The film is a throbbing tale of lust and love, an aching chronicle of a relationship’s fall, a heartbreaking account of addiction.
Una Noche shines a light on the balseros phenomenon without miring itself in politics.
It’s impossible not to look at Take This Waltz as anything other than fantasy.
MacGillivray’s documentary treats its audience as children.
Justice will be served, and predictably so.
The story, perhaps too hurried to do full justice to all the tensions constantly flying about, isn’t without its riches.
Cinema, like life, can mislead us.
From the makers of the cruddy, Rex Reed-goosing Open Water comes Silent House, a really noisy remake of an Uruguayan film that was also shot in one continuous take.
So it is that the one year we didn’t stick to our frilliest-always-wins guns here, we came up short.
I’ve seen them all. Most of them I wish I hadn’t, but such are the perils of this job.