Steve Box and Nick Park’s film is sublime, insightful, and resonant.
Like much of Michael Winterbottom’s work, the film is a highly uneven enterprise.
It goes without saying that the discovery and restoration of Beyond the Rocks is a cause for celebration.
The film is one for the ages, and in anticipation of its first-run release, we met with Sachs at his office in downtown Manhattan.
The Green Cockatoo is a highly entertaining curio of early British cinema.
Fox Mulder’s last crusade.
The high-def video production Haze masks its profoundly romantic intentions within a claustrophobic J-Horror façade.
Bubble oozes an anonymous contempt sadly consistent with Steven Soderbergh’s post-Limey artistic output.
Mike Johnson and Tim Burton’s film shows that imitation is the sincerest form of flattening.
We are racing toward an apocalypse of our own creation. This is who we are.
Neil Jordan’s film is an odd, at times off-putting mixture of camp inflection and earnest insight.
A bad movie is worst when you can sense the meaningful intentions of its creators.
The final farewell to a television masterpiece.
If anyone can explain why Mulder is eating Scully’s hand in “Redux II,” please e-mail this freaked out X-Phile at the address below.
Ousmane Sembène is clearly at his best when trusting in cinema’s powers of observation.
Mandabi is the root of all evil.
You’ll want to fly out of this Nest, pronto.
The film is perhaps best epitomized by an early carnival set piece in which the camera twirls round and round on a whirligig.
9 Songs is a minor wisp of a work, a fleeting and hazy recollection of several rapturous moments out of time.
I think we’re far enough along in our civilization that the following can be stated with absolute authority: all Michael Bay movies are evil.