Murray Lerner’s coup is photographing Dylan with the same informal quality as the singer-songwriter’s ingenious arsenal of words.
What’s the fun of being a seeker if you don’t actually get to do any seeking?
Bella might have been called Estado Jardín if it didn’t take place in and around Manhattan.
Brian Springer’s film documents a family’s attempt to bridge the gap between the past and the present.
As chilly as the wintry Mongolian plains, the film’s calculated style suggests the influence of Baraka.
The film histrionically explores how government policy and our involvement in the Middle East affects people in America on a personal level.
Masters of horror should marvel at Cristian Mungiu’s canny deployment of red herrings
Welcome to the seedy demimonde of the club Paradise, where Abel Ferrara probes the dreams of lives less ordinary, including his own.
You know the old joke about a Monet looking better from afar?
Scarcely an exposé, Terror’s Advocate is more plainly a portrait of a man as a timeline.
Finally, a Verhoeven film your mother and father can rally behind.
The ridiculous amount of extras packed into this two-disc DVD expand on the film’s humor to unprecedented degrees.
All you need to know about Claude Chabrol’s new film is in its title.
What should have been a jumping-off point for a lively discussion about the meaning of life is really just a philosophically shallow wasteland.
The refusal to explain the roots of its protagonist’s madness gives her husband’s desire to summon happier days a bewitching poignancy.
Carlos Saura’s hybridization of cinematic and musical techniques is an orgy for the eyes and ears.
The blarney isn’t the only thing that’s thick in writer-director Brad Gann’s Black Irish.
Here are our predictions for how 10 races are going to shake down on Sunday.
The film’s Gut-Buster-to-Forehead-Slapper ratio is relatively even.
Did Anton Corbijn shoot his load with his early work for Propaganda, David Sylvian, Echo and the Bunneymen, and Depeche Mode?