I didn’t even get that moral exploration I was hoping for, since the issues the box might have opened up are left unexamined.
The film never promises to deliver its subject to us neat, complete, and tidily explained.
Angelina Jolie brings home the bacon and fries it up in a pan she could turn into a deadly weapon on a moment’s notice.
I meant to watch the 1933 version of Alice in Wonderland on the big screen at BAM last night, but the heat chased me inside instead and onto my computer.
Dersu is the ultimate natural man, understanding everything and everyone.
As this movie reminds us, we need galoots like Ron Galella to get us the info we crave, so we shouldn’t crucify him for our sins.
Bronson may make violence into a performance art, but he doesn’t seem fit for much of anything else.
A lot of the pleasure of watching this film comes from cinematographer Jørgen Johansson’s beautiful and expressive camerawork.
Claire Denis says the film is a tribute to Ozu, and I can see why.
How can tell if we’re dreaming? Is “real” life more valid or meaningful than dreams? Can we control our subconscious minds? Should we?
Feeding the art world dreck just to prove that it will gobble up anything sounds like the kind of thing that Banksy would do.
The film suggests a game played by a seasoned director to entertain himself between features.
Movies like this are all about authenticity.
The film feels powerful and alive, capturing the vitality and significance of a politically engaged artist in her joyous prime.
The makers of Mugabe and the White African, like their subjects, seem to have an almost touching faith in the European legal system.
Tilda Swinton carries the movie’s main message in her expression and body language.
Other directors might have played the film as social satire, but the Duplass brothers want us to laugh with, not at, their characters.
A Tale of Two Sisters takes the hostility and mutual mistrust that can keep “blended families” from blending and turns the dial up to 11.
If there were a cinematic equivalent of the Great American Novel, The Kids Are All Right would be a contender.
If the film can be vague about the political and economic forces changing Italy, it does make it clear that those forces are destroying lives.