An underwhelming DVD package but Bright Leaves remains one of the most rewarding documentary experiences of the last five years.
Maybe the release of Land of the Dead will bring some needed attention to this avant zombie flick.
Ziad Doueiri’s follow-up to 1998’s well-received West Beirut doesn’t hawk a naïve liberal’s vision of assimilation and cultural identity.
To Hilary Duff’s credit, she not only cries well but also makes her use of the word “self-preservation” in casual conversation sound convincing.
The must-own DVD of the year for pop-culture junkies and nostalgia wankers.
Unlike its many star basketball players, the film is both underachieving and self-hagiographic.
Maxim’s writers should stick to reviewing breasts…and Florent Siri should stop making movies.
A spotless transfer all-around (the sterling silver is sterling and Christina Ricci’s hair is blacker than black), but the film is still ugly as sin.
The film’s vision of body movement as an inclusive, non-violent form of social resistance is conveyed with remarkable clarity and vigor.
Sébastien Lifshitz’s Wild Side summons a tightly-wound ménage à trios both in front and behind the camera.
It should be a snoozer, but the soundtrack makes it impossible to doze off.
Fans will want to opt for the Region 2 disc if they wish to hear Kim yap away over the non-stop spectacle of female degradation.
The film is a Frankensteinian fusion of every thriller made in Hollywood from Rosemary’s Baby to Don’t Say a Word.
It’s not long into the film before you begin to miss the minimalist political paranoia of The Parallax View.
Just as Elephant is and is not about Columbine, Last Days is and is not about Kurt Cobain.
Werner Herzog’s camera isn’t only dedicated to capturing the profound bliss of the Buddhist faith.
The film is a motivational video for the Wagner family and the Wagner family only.
It doesn’t so much play out as a sequel to House of 1000 Corpses but as a recapitulation.
This this film epitomizes the selling-out of the punk movement.
It’s as if Mr. and Mrs. Smith exists only for its own satisfaction.