Cairo Exit goes beyond cultural specifics to tell a story of universal import.
It’s a cold, cruel world that Park Jung-bum paints in The Journals of Musan.
Grey Matter, to its credit, leaves us with no easy answers.
The film may not be much more than hagiography, but it’s no less engrossing for that.
Despite its panoply of clichés, the film does work up some goodwill once you accept it on its almost defiantly generic, low-stakes terms.
The film is a reasonably sensitive and occasionally insightful look into the mind and psyche of an impassioned and deeply troubled artist.
James Gunn is uninhibited about juxtaposing different tones and styles together in Super.
Green contains enough skill and vision to suggest possible triumphs ahead.
The film exudes the confidence of an artist willing to risk driving its audience up a wall in order to realize a defiantly unique personal vision.
There’s something about the night that is beautiful, mysterious, and humbling all at once.
Source Code packs, in dazzlingly virtuosic fashion, two mysteries in one.
Here is a breezy, old-school horror romp which gets a surprising amount of mileage from the usual genre standbys.
Mysteries of Lisbon plays as an endlessly compelling juggling act.
Old Cats is a clear-eyed, empathetic understanding of the agonies of aging.
Formally, Kelly Reichardt’s fourth feature is some kind of masterpiece.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
Ferguson’s approach mostly focuses on facts, expert opinions, concise explanations of complex concepts, and tough probing of authority figures.
If there is a thread running through some of this year’s festival, it is the acceptance of the enigmatic in human beings.
The payoff is too light on revelation or insight to justify the skillful, fairly involving, tension-filled buildup.
Film Socialisme is often simply beautiful to look at, full of inspired, elusive, and suggestive imagery.