Walk the line with The Intruder but take slow, deep breaths afterward.
ANTM is possibly the best reality show on network television.
It fluxes all right, from bad to the total pits.
After a while, it’s not Sean you’re following but your own evolution to the here and now.
Corn figures prominently in Richard Squires’s Crazy Like a Fox.
Who gets to call it art?
Mike kinner’s uncomfortable response to fame is genuinely human, but the artistic expression of his crisis is a drag.
The film is a master-class mosaic of aural detail and visual sleights of hand.
Fists in the Pocket is no walk in the park.
This Italian gothic is immediately engrossed by the stagnant air that enshrines its milieu.
The main character’s distress is laid out with minimal fuss or pretense.
Ivan Sandomire’s fine performance as Mendy makes this one impossible to dismiss.
There are worse things than catching your parents doing the dirty, like watching a film reduce an African nation’s black populace to window dressing.
Given all the Lynch connections, think of the film as an appetizer of sorts before Inland Empire.
Unveil Boys Don’t Cry instead.
Linda Lovelace has nothing on the little camera that travels down into the deepest areas of the film’s oceans.
The film may look like an overlit Collective Soul music video, but its stars give it grit.
Michael Caton-Jones’s sequel feels spayed whenever Sharon Stone isn’t on screen.
It’s a film with inadequate research but one that makes a ferocious case capped with a hopeful closing statement.
It’s an even-handed account whose content comes to us slowly like the rising tide.