Spielberg’s film is a disaster movie that loves the human race.
The film is a familiar rehashing of what Romero already covered in Day of the Dead.
“Hold me like you did on Naboo” simply holds no weight next to Charlotte Vale’s equally melodramatic yet far more poignant doomed romance.
It remains a highly narcotic, swoon-inducing romance in the Bette Davis canon.
During a Kiyoshi Kurosawa film, one sits in anticipation of the horrors lingering just outside the frame.
The tagline says it’s all about men, but this 1939 comedy is really a testament to the females of a certain era, and how they go about securing their comfort and happiness.
Ladies, ladies…please!
Though its craft is accomplished, the film never gets deep under one’s skin the way it ought to.
You know what you’re in for when mommy dearest happens to be the incomparable Joan Crawford.
An intellectual, a feminist, and a socialist, writer-director Sally Potter places her films within the realm of the conceptual.
Are movies all about great endings?
Howard Hawks said that a classic film has three great scenes and no bad ones. Despite its three great scenes, The Letter is no classic!
This Joan Crawford vehicle puts this intense screen queen through a series of film noir hoops.
The Damned Don’t Cry isn’t a particularly good movie, but it’s a damned fine yarn!
The film’s points about the hypocrisy of populism are a little too dead-on.
Strong performances and a fiery aggressive tone keep things moving, but the film is dated and not particularly deep.
What was once a hot-topic message movie about the state of juvenile delinquency in inner city schools is now a dinosaur relic of the Eisenhower era.
Sidney Poitier steals the film and makes it a cut above what it is: a holier-than-thou PSA.
Th soul-crushing horrors of slave labor in the penal system are neatly interwoven into a highly gripping plot.
Time has not blunted the hard-edged anger of Fugitive.