If Robert Altman had made a cop drama, it might have looked and sounded like Rampart.
Béla Tarr might be a man of few words, but those words pack quite a punch.
To get an idea of A Separation’s thematic scope, imagine a slow moving avalanche that starts with a single bad decision.
Marius Hoist’s keen direction proves that worn-out genres can be advanced with the right casting and setting.
Edmon Roch structures Garbo: The Spy to basically affirm that Garcia was one of the key factors in crushing Nazism.
Consider this the “feel bad” dispatch of AFI Fest 2011.
This Is Not a Film is a masterpiece aching with expected pain and unexpected laughter.
For the first time, I can’t excuse the bull Clint Eastwood is selling.
The Last Rites of Joe May offers center stage to a great performer who’s made a career of playing supporting tough guys.
Kuroneko, and all its black cat magic, arrives on Blu-ray just in time for horror-film themed Halloween parties everywhere.
Don’t Go Breaking My Heart isn’t simply a house of mirrors reflecting the soullessness of our internet age.
Animation, motion graphics, and slow motion all pop up at some point, further splintering Sidewalls into a pandering pastiche of better films.
Buck wants to be a modern-day western fable so badly that it ends up bastardizing the very noble stoicism it claims to celebrate.
Essentially, Glitch in the Grid is one 82-minute blame game posing as art cinema.
This Blu-ray release offers yet another reason to revisit Tarantino’s masterpiece on unrequited love.
My Life as a Dog is one of the great films about childhood perception.
To Be Heard fails to capitalize on its subject’s obvious talent.
Nostalgia for the Light sees remembrance as political and poetic act, and something elementally human.
The film’s clunky combination of interview segments and archival footage lacks the immediacy the subject matter demands.
Dualities in life, art, and madness crisscross throughout Shit Year.