The film’s positive portrait of teenage femininity is honest and mature.
The image on this disc is serviceable but the audio delivers the goods.
Pity that the story behind the making of Ushpizin is more interesting than the film itself.
Land of Plenty is your typical Win Wenders doodle, except its meaning is now explicitly rubbed in our faces.
Beautiful. Poetic. Scary. Take a walk with these nine Val Lewton classics.
Bono need not appear in a film for his massive-sized ego to be felt.
Dark and distressing, Last Days is as anti-anthemic as “Smells Like Teen Spirit.”
It can’t be said enough: less exploitative and infinitely more fun than Spellbound.
The show wishes to say something profound about suburbia with its outmoded view of womanhood.
Hunger is one of Gabrielle’s many subjects.
Emmanuel’s Gift has an unnaturally sustained infomercial-esque feel.
It’s not long before you realize that the film is just an excuse to put on a gospel show.
With Sympathy for Lady Vengeance, Park Chan-wook delivers more virtuosic but empty flash.
Jodie Foster’s Nell might describe Dandelion’s characters as tays een da ween.
David Redmon is impressively hands-off, allowing the material to speak for itself about the headless beast of globalization.
The Brechtian formalism that stirred the more ambiguous Dogville’s philosophical inquisitions is put to uninspired use in Manderlay.
The film is a modest vision of characters trucking on in spite of their difficult circumstances.
Slant Magazine sat down with the director to discuss the making and politics of HellBent.
Mitsuo Yanagimachi’s film is a captivatingly detailed ode to community and the movies.
Tasteful but unexciting, Monumental is nowhere near as special as David Bower’s fight for wild America.