Is there a less diluted apogee of the gonzo-autuerist ideal than artist, critic, and avant-garde cheerleader Jonas Mekas?
The titular backslash of Import/Export turns out to be a vast geographical schism.
By the end, most of the promising threads initiated at the movie’s start dead-end in the Hamburg rain.
This set has been lovingly designed for The State fanatics who, at the current price point, will want to dip their balls in it.
The film is pitched halfway between legitimately self-aware slasher camp and—shudder—a sincere relationship thriller.
Yoo-Hoo, Mrs. Goldberg benefits from a charismatic if elusive biographical subject that has all but faded from public view.
Tempest is notable in John Barrymore’s catalogue for exuding an aura of mostly asexual cultural significance.
The film is notable in John Barrymore’s catalogue for exuding an aura of mostly asexual cultural significance.
A brief featurette is the disc’s main supplement, collecting a handful of new interviews with the three primary cast members and screenwriter Al Schwartz.
The movie is fascinating, and undeniably entertaining from an archival point of view.
The directors’ judicious patience with their subjects allows them to capture some remarkable storytelling.
Havana Marking’s social observations resonate most effectively when she concentrates on the titular TV show itself.
Mrs. Goundo’s Daughter probes the subaltern core of Mali’s feminine psychology.
The film is a religious experience….with a side of potato soup.
The film is one of the few entrancingly esoteric, radically raw dialectics ever made.
Ignore the social esotericism: Last Holiday is a witty petit mort meant to distract from the arrival of le grand mort.
Hematophagous audiences dissatisfied with Drag Me to Hell could do worse for a double feature than Dead Snow.
Last Holiday is a tour-de-force of nuanced, humanist-minded performance.
That the film was adapted from a novel is gawkily evident not only in the bare details of the above synopsis.
Une Femme Mariée may inspire more verbal hesitation than any of the films that preceded it in Godard’s oeuvre.