Tasteful but unexciting, Monumental is nowhere near as special as David Bower’s fight for wild America.
Like Lost, the show seems predicated on an unsustainable premise.
Anyone understandably bothered by the lapsed historical significance of the documentary will appreciate how Stone picks up the flack on his commentary track.
Can’t decide if you want to remake 400 Blows or The Piano?
NYU film professor Michel Negroponte goes slumming in the Lower East Side.
L’Enfant’s swirling sense of moral chaos, sustained horror, and courage has not been seen since The Son.
The “real” and the “reel” are virtually synonymous in Romanian filmmaker Cristi Puiu’s second feature.
The film treats the events surrounding the 1979 assassination of South Korean president Park Chung-hee as an elaborate joke.
Coming-out films are not uncommon but rare are the ones directed by straight dudes and cut from such an abnormal mold as Dorian Blues.
Godard’s satire of the children of Marx and Coca-Cola still resonates today.
If you have any sense, you’ll rent and savor Trash instead.
No movie this year will benefit as much from repeat viewings than Hong Sang-soo’s A Tale of Cinema.
Cold, humorless, and ostentatious, Theo Angelopoulos’s films have wrecked havoc on European art cinema for years.
Joss Whedon reduces the existential struggles of his galaxy-bouncing rebels to pat one-word signifiers like Love and Pride.
The Exorcist meets The Contender in the The Exorcism of Emily Rose.
These films highlight an area of the world that is as politically engaged as any other and whose voices insist on being heard.
Romanek’s best work poses a serious challenge to others working in his field: Are you gonna go my way?
Corbijn’s myth-making images forgive no one just yet.
Glazer’s obsession with the human body is what you get when you mess with us.
The interactive menus and nature of the supplemental materials are witty, cute, and oftentimes frustrating.