This slight package does Killing Them Softly no real favors. But the film itself may prove enduringly fascinating, if only in its function as an arch object of its era.
It positions The Shining as a comparably coiled, thematically overflowing microcosm—standing in for cinema, for history, for obsession, for postmodern theory buckling under the film’s heft.
Phil Spector’s nominal entertainment value proceeds almost entirely from its status as an explosive camp object.
A top-shelf presentation of one of last year’s baggiest, most unnecessary films.
Matías Piñeiro’s film isn’t so much deeply disrespecting notions of ownership, authorship, etc., as charitably redefining them.
The top-notch packaging reveals Argo for what it really is: less a nail-biting chamber-piece character drama and more a coolly realized, wildly reckless, actioner.
Kino offers a serviceable package for a serviceable early indie horror film.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
Zero Dark Thirty is nothing if not a forthright, above-board, cards-on-the-table kind of film.
Lately for Quentin Tarantino, it’s all about scar tissue.