The sequel to Steve Gordon’s Arthur wears its intentions on its sleeve.
The premise is so preposterous and shaky, it simply needs to be swept under the rug as soon as the film begins.
Da flirts with Shakespearean themes, King Lear and Hamlet being the main points of reference.
As indicated by its title, the film is super-sensitive to class divisions.
The film is as much a nail-biting thriller as an experiment in narrative dualism.
The film’s oddest creation is by far Patrick Swayze’s Johnny.
The film is immensely rich as an act of philosophical inquiry.
Mandy of his films are obsessed with fragility of sexless marriages crumbling under siege from illicit passion.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.
The film is as modest and self-explanatory as its lower-case title suggests.
It strives for a handheld immediacy and raw emotional power that it only intermittently achieves.
With Ascher’s fantastic hoot of a movie, this year’s omnipresent Sundance tagline (“Look Again”) has finally lived up to its promise.
When it comes to Julie Delpy, the key question remains the old Barbra Streisand one.
Côté’s images ostensibly detached, they somehow manage to be beautiful without ever becoming particularly pleasant to look at.