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.
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.