Alexander Payne films don’t have the distinct visual styles of movies by Quentin Tarantino or Wes Anderson, but they are quickly recognizable just the same.
I suspect the biggest reason Barry Lyndon is overlooked is because of its slow, deliberate, drawn-out pace and, this is crucial, its lack of a signature moment.
Its sensational content aside, Jaws doesn’t have a whole lot in common with what we now think of as summer blockbusters.
Terrence Malick’s fifth film hadn’t crawled beyond Cannes, New York or Los Angeles before speculation intensified about the director’s future projects.
It’s hard to pinpoint exactly why Days of Being Wild doesn’t quite move me like Wong’s other films.
Sex isn’t just a setting here the way that, say, ballet is just the setting of Black Swan.
Jeff Bridges does meet the challenge, but he does so by kind of skirting around it.
The documentary is an exploration (in 3D!) of the Chauvet Caves, an area that Herzog identifies, romantically and poetically, as the place “where the modern human soul was awakened.”
This is an attempt to capture the essence of the past decade in music, as I’ve experienced it.
Jarman’s response to a restrictive culture that denies gay sexuality is, in his films and his writings, to be open, to be honest and forthright and at times outright confrontational.
In David Cronenberg’s Crash we are given a collection of characters with often overlapping but not always similar sexual fetishes.
“It’s the pictures that got small.” Those words make up the second half of one of the most famous quotes in movie history.
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
Is WALL-E better than you expected, a notable Pixar achievement, or is it just more of the same?
Tarantino is offering a peculiar form of thrills, for the most part; it’s not always exciting in quite the way one expects a Tarantino film to be exciting.
Ed, I am daunted. Let’s get that out of the way. This is the last subject I ever expected us to cover—Quentin Tarantino.
His films, almost without exception, tell straightforward, direct stories, the kinds of stories that writing gurus love because they can be summed up in a single sentence.
I can’t think of any filmmaker who so adeptly and obsessively focuses our attention to precisely what’s on screen.
Herzog’s world is harsh and cruel, dominated by a violent natural order in which humanity’s place is precarious at best.
America’s relationship with Star Trek began before man ever set foot on the moon.