Crowe doesn’t know how to shoot movies but he knows how to put on musical revues.
This feisty sex comedy of errors doesn’t break any ground, but it still has its charms.
Larry Clark wants to get down with the young papis in South Central.
Death is a many splattered thing in Final Destination 3 and the lowest common denominator responds to it with delight.
Nina’s political fire never went out, but her music did become sunnier toward the end of the ’60s.
Not Louise Brooks’s best, but it certainly shows off her considerable talents.
Prix de Beauté has an excellent pedigree, but you’d hardly know it from its incredibly wobbly presentation.
Was it too much for Fox to include Daryl Hannah’s deleted scenes on this DVD edition of Supercross?
Framed along severe diagonal lines, Oliver Twist’s visual precision is startling, and this transfer does remarkable justice to it.
If you like your horror films served analog-style, stay away from this digital-era junk heap.
We probably all know a post-grad film student or two who could have told this same exact story.
Through his use of green screen and montage, Peter Rosen seems to want to position his film as its own work of pop art.
Based on actual photos the rovers continue to buzz back to planet Earth, the CGI landscapes are impressive but the camera maneuvers are ungodly.
We’ll be completely honest. Predicting Oscar nominees is just no fun anymore.
Phil Morrison’s film is a humane statement on the blue state/red state divide.
Corpse Bride looks great but doesn’t hold a candle to The Nightmare Before Christmas.
Obsessively detailed and frequently absorbing, the film affects the form and function of a Rube Goldberg machine.
Tristan and Isolde doesn’t deserve James Franco’s fine performance.
The image is a little more saturated than I remember seeing in the theater, but the stylized look comes across beautifully.
Despite what he may think, Schwentke hasn’t make a 9/11-era version of The Parallax View.