Richard Linklaer is good at capturing the failed intimacy of Generation X.
The image and sound quality is pretty good, and a step above foreign releases from New Yorker Films and Facets.
Maybe in this case, the emperor really has no clothes.
Karen Black versus an obviously fake wooden doll is surprisingly credible, scary, and balls to the wall exciting.
Who loves you, baby?
Asylum is a fun, old-fashioned taste of post-mod, pre-1980s macabre in British cinema.
The Beast Must Die is a curiosity for fans of low-rent British horror flicks in the 1970s.
Following the fundamental rules of the 18th-century gothic ghost story, the film is slow moving but frequently lurid.
The atmosphere and theatrics of the Amicus presentation make it a more than worthwhile trip down memory lane for die-hard horror buffs.
When The Beast Must Die is ripping off The Most Dangerous Game, it’s an amusing, if minor, genre offering.
Though it is occasionally slow going, Stephanie Beacham’s operatic shrieking makes good on the title’s promise.
In the tradition of South Park’s Al Gore, let us forever describe future films of this breed as “so Syriana.”
This latest unnecessary remake of a minor horror flick lacks even the benefit of novelty.
Too many unnecessary flourishes interrupt the flow of the concert film that could have been.
To those who enjoy science fiction, An Inconvenient Truth is one of those movies that makes one imagine an alternate reality.
Chaw rages against the Hollywood machine’s depictions of class, gender and race, puncturing political correctness.
Mat Whitecross and Michael Winterbottom’s film encourages action.
The matter-of-fact filmmaking style is made up for by the vitality of the all-around fantastic performances.
The picture and sound quality on all of the films is clean and clear with the exception of A Perfect Couple.
Warm up that espresso machine, because it’s going to be a long night.