The film plays it straight and boring, chasing its predecessor’s tail of mediocrity.
Nicholas Jarecki’s The Outsider doesn’t have the edge of a race-conscious James Toback film.
The film is a poetic consideration of life reaching out for life.
The film is a chimera of poignant, tangled socio-politically charged ellipses with an atmosphere that affects a sense of musical healing.
The film is a specious mix of febrile sex and faux race commentary.
Anthony Giacchino uncovers a gripping lost chapter in the history of human rights activism with The Camden 28.
Cyndi Williams’s performance in Kyle Henry’s Room is a searing articulation of post-traumatic stress disorder.
Going Under is mustier than Secretary.
Every history book has a mundane chapter you don’t want to study that will still be covered on the final exam.
Amy Sedaris’s Jerri Blank is the project’s greatest visual effect.
Everything you ever wanted to know about sexual perversity but were afraid to ask is on anemic display in Bret Wood’s new film.
Movies encapsulate our mythic past, time capsules of how we lived.
A landmark of the silent film era, Sir Arne’s Treasure is the spiritual cousin of Greed and Sunrise.
Always there’s a sense that the story’s characters are acting out an urgent and mythic act of social restoration.
How to close it becomes a modern world’s ultimate ethical, self-reflective challenge.
Do you know that feline AIDS is the number one killer of domestic cats?
From Aquamarine to Hoot to Stick It, 2006 is turning out to be a banner year for the tweener-geared film.
The film’s color wheel is a little oversaturated, thus negating the grit Tommy Lee Jones was surely after.
This stealth, beguiling creature of a film is teeming on the inside with rapidly-growing ideas about cultural and personal malaise.
The film is almost preferable without the context provided by a ludicrous last-act revelation.