It isn’t very fashionable to be a moralist in art these days. Films that deal with moral issues in a direct way are often tagged, rightly or not, as preachy and didactic.
Throughout the film, Spike Lee has multiple characters try to take on the attributes of a race other than the one indicated by the color of their skin.
If there’s anything that can excite an impassioned debate among film fans, it’s the topic of 3D.
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.
One major reason that Terrence Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
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.
Part of the reason I’m drunk on Black Sawn while still struggling to identify its taste has something to do with the film’s hallucination-filled narrative.
Is Darren Aronofsky’s relative nebulousness a reflection of the quality of his films?
By the end of his career, Yasujirô Ozu had developed a singular style and a set of themes and stories that were wholly his own.
Maybe that phenomenon is what inspires filmmakers to make concert documentaries in the first place: the challenge of simulating the feeling of being there.
In all of his films, Todd Haynes takes elements of gaudy tabloid culture and warps them to his own purposes.
Both All About Eve and Sunset Boulevard are the kind of movies that one hopes, 60 years later, would seem like dated time capsules from an earlier era.
Rope in particular is “minor” in large part because Hitchcock created so many majors.
This is a pair of films that are remarkably and unmistakably different despite the numerous things they have in common, the most obvious of which is their general subject matter.