Ondi Timoner’s documentary surprisingly lives up to its Barnum-esque hype.
This Beautiful City provides a thoroughly researched context for the evangelizing of Colorado Springs.
Maria Beatty’s Bandaged is the S&M filmmaker’s foray into the indie mainstream.
Cox’s heartfelt take on the true-life relationship between Sid Vicious and Nancy Spungen could easily have been just another rock biopic.
Even as the Oscar push for Revolutionary Road remains in full swing, Sam Mendes returns to his theater roots with his latest production of The Cherry Orchard.
Corinne van Egeraat’s Cowboys In Kosovo is a film Jim Jarmusch might want to option.
Edward Zwick has crafted over two hours of repeatedly bad ideas.
As good as Michelle Williams is here, the true star of Wendy and Lucy is Kelly Reichardt’s exquisite filmmaking.
Milk is mainstream filmmaking at its finest, and a perfect wedding of subject matter to director.
The day I interviewed Kuras and Thavisouk Phrasavath, congratulations were in order.
While the discoveries the director makes may be eye-opening to an Israeli, anyone born and raised in the U.S. will find them merely shrug-worthy.
Simply put, Eden is like knockoff Leigh or Loach, unfocused kitchen-sink realism.
The ghosts from the past, entering the frame in reenactments, hover above Stranded from start to finish.
The film should be available to as many people as possible free of charge.
Edvins Snore’s straightforwardly bookish and buttoned-up style makes Ken Burns look like Ken Kesey.
Steve McQueen is interested in using Hunger to silently document the daily intricacies of committing a crime.
Clark Gregg is in way over his head.
Filmmakers need to stop viewing audiences in linear terms, to start widening the net, embracing an umbrella approach, thinking in the language of prisms so peasants and kings get fed together.
Recently, a fairly innocuous comment posted to my scathing review of Traitor at The House Next Door made my blood boil.
Sometimes doing what you think is the right thing just ain’t good enough.