American Casino would seem more suited to print than to a visual medium like film.
In the end, it’s the profound existential questions that elevate Barthes’s film to pure artistry.
The only question that remains is who will play Flame and Citron in the requisite Hollywood remake.
Nollywood Babylon examines the world’s third largest film industry.
Unfortunately, Masha Novikova’s documentary doesn’t sizzle like its title, but merely fizzles out.
The film is a rigorously researched and highly thorough piece of investigative reporting on the silent epidemic that is Lyme disease.
It’s rare when a documentary comes along that truly shines a light on a virtually unexplored issue.
Reckoning renders a crucial judiciary of last resort about as inspiring as a conference call.
Portrait of an Artist as Rambo: A Conversation with Flooding with Love for the Kid’s Zackary Oberzan
Oberzan discusses his appreciation of action heroes, mind versus body control, Stallone versus Van Damme, and so much more.
A well-meaning dud, the film’s only defiance is testing its audience’s patience.
The straightforward, fly-on-the-wall approach that Nati Baratz takes doesn’t do justice to the supernatural aspect of such an incredible tale.
Offices, three short comedies about the cubicle world, is about as fun as a day job.
Steven Soderbergh merely grafts the wheeler-dealer movie industry he knows so well onto the sex biz and calls it a day.
The film merely reaffirms mainstream perceptions of New World Order theorists as disenfranchised crackpots.
Provocateur playwright and filmmaker Neil LaBute traffics in alternate reality.
Little Ashes is less a film than just a series of bad ideas piled on top of one another.
The too-much-information age is a strange thing indeed.
Il Divo is a ballet on steroids, downright militaristic in its precision.
Honigmann’s mastery of craft is abundantly clear in the fixed and methodical camerawork.
Alexey German Jr.’s film harkens back to Russian cinema of the ’60s.