Of use to no one, except perhaps for boys hoping to show—rather than tell—their parents they like other boys.
One of the great works of Iranian cinema.
Art majors can now skip over the chapter on Andy Warhol in their Introduction to Pop Art textbooks.
Xavier Beauvois’s Le Petite Lieutenant puts the procedure in procedural.
The audience shares Ed’s grief because we’ve seen this mess a good hundred times before, only never quite so concentrated.
There’s no sense of magic and danger to this bland animation.
Banned for many years in Mexico, the film filters the sexual agency and paranoia of its characters through a telenovela scrim.
Daniel Burman makes lovely use of ellipses throughout, speeding the story along without sacrificing character nuance.
This Saturday-morning vision is neither sweet nor complicated enough to credibly evince the mysteries and challenges of growing up.
No one will mistake Fakers for either the 1968 or 1999 edition of The Thomas Crown Affair.
It illuminates both the emotional deprivation ghetto life can perpetuate and the legit forces of good out to ease that pain.
Casey Affleck is better than Lonesome Jim, but Lonesome Jim is leagues better than Elizabethtown.
This DVD edition honors the film’s vibrant aesthetic even if it is sadly without extras.
I did after five minutes, and so will you.
American Gun is the little sibling of Paul Haggis’s Crash. Its only charm is that it’s 20 minutes shorter.
For anyone unfamiliar with Robert Wilson’s work, Susan Sontag’s hyperbole may be a sign of what you’re in for.
What director Joe Swanberg’s LOL lacks in ambition it makes up for in nuance.
The film’s startling saber-toothed violence and blend of mystic and modern impulses recalls Pier Paolo Pasolini’s Porcile.
The albatross of Pedro Almodóvar’s flamboyant ’80s oeuvre will encumber the director as long as he makes films like Volver.
The film is a pale imitation of Dario Argento’s early giallos.