Sometimes it’s worth reproducing the standard blurb, especially if it comes from the director’s own mouth.
You don’t get a raft overrun by monkeys, but you do get a chimp breaking the fourth wall by trying to tear the lens out of the camera.
Wait! What?! The rest of the Garbage Pail Kids are crushed in a garbage truck at the bequest of The State?!
The exploited tears of the wage-labor Garbage Pail Kids are a communist playground’s gain.
Werner Herzog’s first feature film establishes one of the German director’s most easily identifiable signature marks.
Few world-class auteurs direct debut films that so decisively define their impending themes.
Leave it to Miss E to be able to make ecstasy sound like penitence, and vice versa.
Stina Nordenstam’s simultaneously tremulous and tremendously moody The World Is Saved is something of a homecoming.
Bresson’s Au Hasard Balthazar is the rare spiritual film that lowers the bar for saintliness.
Vera Drake is a common street whore compared to Au Hasard Balthazar.
The disc’s audio is good: Not a single syllable out of Dakota Fanning and Larry Pine’s mouths goes unheard.
Shocked’s recent material reveals a woman spending her free time singing to pretend that she doesn’t see who just walked out her door.
Bresson’s film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.
A parable that demonstrates that morals are inadequate, L’Argent is required viewing.
As any lonely homosexual can tell you upon leaving a gay club empty-handed, gay people’s worst enemies are often other gay people.
The film’s near-mathematical approach to political intrigue is a great argument in favor of big government.
Oh, François, you big tease!
Be sounds like Common’s teaching from the playbook of a college dropout.
Hey, if I want sincerity in dance music, I’ll listen to Kerri Chandler.
Masturbation takes on a devastating thematic function in Christophe Honoré’s film.