Not surprising for a film that trades in child’s-lit insight and character arching, Tsotsi sheepishly keeps its social realism at arm’s length.
For Peter Berlin, art was the strangest thing: a studied pose of personal expression and sexual abstinence.
Must love dogs? No, thank you.
By quoting us on the front cover, TLA has allowed me to fantasize about myself as the fourth dancing slave. Thank you.
The sociological and emotional heft of The New World is encased in a swirl of hallucinatory images.
Hunter Richards’s London has the makings of a great gay porn.
La Petite Jérusalem transplants the Arab-Israeli conflict to a concrete housing neighborhood in France.
Socio-politically-minded Big Idea films were all the rage in 2005.
Mohammad Rasoulof’s examination of life on board a decrepit tanker in the Persian Gulf is anything but obtuse.
Chris Evans may not win an Oscar for his performance in Fantastic Four, but I see an AVN award in his future.
A potty-mouthed reconfiguration of a sports classic for our Bad Santa age. Funny stuff.
Strictly for little piggies with houses made of straw.
The clean-up job is serviceable, but this is a rare Lang that’s probably seen in any condition than in no condition at all.
The film not only shows its modest origins, but the frustration of its maker.
Valiant is the DVD of the year for parents who hate their children.
There are two sides to every story, the saying goes, but in this super-Rashomon-meets-Shrek CGI contraption there are no less than five.
A fabled vision of childhood virtue bookended by the horrible, undiscriminating hands of war.
It’s difficult to fault a film that scrutinizes the veracity of childhood with such clarity.
Rob Marshall doesn’t hype the soul of Japan, only its artifice.
In essence, Robert Lepage has remade 2001: A Space Odyssey without the Kubrick film’s sense of spiritual wonder and elation.