Zack Snyder offers a peek inside his head, which turns out to be a vomatorium of pop culture’s every geeky element.
Art and environment are passionately intertwined in Microphone, as are, to a less successful extent, traditional notions of fiction and nonfiction cinema.
The problem with the film, as before, is that it’s rarely as lively and funny as it should be.
Margin Call loves speechifying, but the film is far more assured when lingering in the silence of its morally compromised characters.
Tyrannosaur never convincingly justifies its pessimistic gender-warfare worldview.
As any fan of Behind the Music knows, tales of rock-star drugging have only two possible outcomes.
The film winds up operating according to a formula that’s as musty and conventional as they come.
A weighty topic receives lush but eventually contrived treatment in Circumstance.
Couching clichés in self-conscious nostalgia does nothing to lessen their corniness in White Irish Drinkers.
Geek is its own language, and Paul speaks it fluently.
0s & 1s negates its own critique by gleefully reveling in the grating digital detritus it pretends to censure.
A first-person-shooter that delivers an updated version of the America-under-siege fiction of Red Dawn.
The film just barely balances its everyone-learns-something uplift with ragged emotional dynamics and unexpected humor.
Few sequels are less warranted than Elektra Luxx, a follow-up to 2009’s multi-character mess Women in Trouble.
The film has none of its spiritual predecessors’ wit, verve, or morally conflicted perspective on its subjects.
Grim aesthetics and an even grimmer worldview define Christopher Smith’s 14th-century period piece.
Potiche finds François Ozon reverting to his campy 8 Women ways.
Another Korean revenge fantasy that negates its moralizing by wallowing in the ghastliness it nominally asserts is unfulfilling and destructive.
The deceptive difficulty is one of the many elements that make this gleefully excessive brawler so easy to love.
Klaus Kinski’s infamous intensity and lunacy are both on vivid display in Klaus Kinski: Jesus Christ the Savior.