A story like this could easily get sticky-sweet.
This has been a good summer for something we haven’t seen much in the movies: the female midlife crisis.
The film is an upper, thanks to its inventive visuals, crisp editing, and constant stream of wry observational barbs.
The film evokes a time and place and state of mind with exquisite precision.
Other movies may have done talk this well, but I’ve never seen one do it better.
At the film’s core is a real-life murder mystery that’s being investigated by the director of a women’s center.
Johnnie To’s trademark standoffs are the best thing about Vengeance.
Airplane! suggests a Marx Brothers farce wrapped around an Arthur Hailey melodrama and given a couple of whirls in the blender.
It’s hard to know what to see sometimes when you don’t read reviews in advance, since trailers can be so unreliable.
Things get interesting when filmmakers and actors reminisce about how their movies got made.
By the end of this majestically powerful film, we don’t just understand the need for art.
The film mixes documentary-style realism with fictional techniques to create a gripping story with an operatic sense of danger and dread.
It’s a pretty good B movie, but it would have been a better one if it hadn’t tried to be more.
The Gleaners and I is a lightfooted meditation from an aging master so comfortable with her medium that her work feels like play.
Watching the film’s backstabbing bunch exploit, betray, and reject one another feels painful and pointless.
I still recoil in pleasurable fear every time that shark rears up out of the water.
Davies’s irreverence is exhilarating when he takes on institutions as powerful as the church or the Beatles.
If you’ve ever wondered what led to the collapse of the Soviet empire, Farewell offers an intriguing answer.
Some things are unforgiveable, aren’t they?
Both are war-is-hell movies, be-glad-you’re-not-here postcards about young men marooned in outposts at the outer edges of intractable wars.