As with the most maddening exemplars of Irish literature, the plot’s hallucinogenic intransigence is its own bitter joke.
The film’s vapid fluffiness makes the similarly frou-frou but ultimately more politically considerate Marie Antoinette difficult to hastily dismiss.
It may sound pathetic, but receiving a miniature Tom Servo action figure with this DVD set might be the current high point of my career as a film critic.
a girl and a gun is a bloated hybrid of graduate-level cinema studies and rudimentary psychology.
It’s clear that Jameel Khan cares deeply about the characters that populate The Strip, but most of them aren’t worth his, or our, time.
The age might have been more gilded and gullible than golden, but as a lesson in media studies this set is indispensible.
The termitic meat of this Faustian exercise sits trapped under multiple, calcified layers of narrative and visual inanity.
Michael Seresin’s cinematography may not be in the service of much, but the 1080p transfer confirms its accomplishment.
Has an auteur ever turned on his characters and the worldview they triumph as sharply and definitively as Lukas Moodysson?
Defamation offers an unprecedentedly raw portrait of the self-destructing political discussion surrounding Jewish discrimination.
This set is comprehensive enough to get lost in, but if postmodern sitcoms with a sharp Faustian undercurrent are your thing, you won’t mind.
Andrew Jacobs assembles an image-rich mosaic of group psychology that surprisingly illuminates the ineffable.
There’s something almost frightening about the failures of The Good Soldier.
The film never quite musters up the energy to dive headfirst into the cosmic and fatalistic implications of death-by-weather.
Huston’s uneven swan song deserves better than this cheap-as-Lucky Charms package.
One has to wonder how posterity might have treated The Dead had it not been Huston’s final film.
A brief walk through a local Barnes and Noble effortlessly castrates the movie’s ambiguous satirical aspirations.
The Film Foundation offers a Fuller understanding of film noir through one of the genre’s most unique participants.
Gaylen Ross inaccurately assumes that we, today, have the imaginative tools required to make sense of all the dumbfounding decisions made during the Holocaust.
The film makes no effort to ameliorate the many contrivances of the novel’s plot.