Yet another case of fractured narrative storytelling in service of a story that would be shamelessly cliché if it were told in linear fashion.
The film abandons all clichés of the traditional bio-pic in favor of outlandish magical realism.
The film is still able to ironically laugh at the savagery and stupidity happening in our world right now.
Jumper would be lame simply on the basis of its under-written characters and slack attitude toward the hero’s adventures.
The archival footage used in Chicago 10 brings us back to a time when individuals weren’t afraid of speaking up for their ideals.
Not really a sequel to his previous zombie movies, Diary is more of a parallel story taking place at the start of the zombie outbreak.
Don’t watch the trailer on the extras, because like so many of these low-budget shockers it shows all the best parts in advance.
Tragic Ceremony isn’t scary enough to induce terror, unintentionally funny enough for camp.
The film is a guilty pleasure for stoners eager to revisit the land of shag carpeting, bellbottoms, and free love.
The film has a broad appeal to cultural anthropologists, ironic hipsters, bad movie buffs, and chauvinist pigs.
In many ways, the film suggests a puzzle book for intellectual aesthetes.
Our man Greenaway stands alone in contemporary world cinema, for better or worse.
The restored anamorphic transfer looks quite good and vivid despite the occasional scratch and some pale skin tones.
Greenaway creates his thesis over the decaying corpses of animals, which doesn’t inspire a middle-of-the-road kind of viewer response.
The film is as much about August Strindberg as it is about Peter Watkins and his philosophy in 1994.
This epic-length video essay is alternately a tedious school assignment and an eye-opener.
Stanley Kubrick’s aesthetic provides a necessary distancing device between the spectator and the acts of horror depicted throughout.
Misunderstood as a psychosexual thriller, the film is actually more of an acidic comedy about how Tom Cruise fails to get laid.
The fiercely ironic A Clockwork Orange has held up over time as a provocative comic horror show.
Stanley Kubrick’s final film merits reevaluation and reappraisal.