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.
The sequel’s script, written by Paul and Brett Hogan, is a grab-bag of ideas, none original and most barely carried out.
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.
Peter Ormrod’s only feature film is so modest as to seem designed to be stumbled upon rather than actively sought out.
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.
My Nights Are More Beautiful Than Your Days is as galvanizing as it is sad and stifling.
Andrzej Zulawski’s first movie made in exile is a meditation on the preposterousness of being a couple.
Andrzej Zulawski’s debut feature seemed like an ominous comet zapping through the gray sky of Polish cinema.
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.
Keep the Lights On explores the ways in which one lover’s drug abuse steadily undermines a couple’s mutual trust.
Côté’s images ostensibly detached, they somehow manage to be beautiful without ever becoming particularly pleasant to look at.