When two movies open a window onto the same little slice of life, it can change the way you experience both.
Mountains and Clouds is an IV injection of inside-baseball maneuvering for political junkies.
The narrative feints this way and that without staying long enough with any of them to hook us in.
It feels obnoxiously privileged to mock a movie haunted by the ghosts of so many real people.
It feels obnoxiously privileged to mock a movie haunted by the ghosts of so many real people.
André Téchiné may not be part of the nuclear family of neo-neorealists, but he’s definitely a member of the tribe.
One of the things I love about New York is how easy it is to find good movies here.
A too-long exploration of too many blind alleys, Cropsey pulls out all the scary-movie stops.
As she keeps pointing out in this clear-eyed documentary, Joan Rivers is 75, but she’s as driven as ever.
Yesterday’s movie was another press screener of a documentary that will show soon at the Human Rights Watch film festival.
How does a nation cope when a civil war? How does it heal?
Mostly we just listen, to people on both sides of the divide and to women who are caught in the middle.
Today’s movie is a real-life horror story about a domestic terrorism movement that may have already won.
When gorgeous close-ups of nature become just one more thing to consume, they also become impossible not to get numb to.
Always talking about going somewhere else, the film’s understimulated overlords act like frustrated adolescents.
Get Him to the Greek gives us too much pleasure not to be forgiven for its sins.
This might have been a better movie if it had gone deeper, but it’s still pretty entertaining.
A bit too pleased with its own cleverness, Double Take is a better idea than it is a film.
[Rec] 2 doesn’t suck, but it does suffer from sequelitis.
The Witnesses is infused with tenderness, fury, and quiet grief.