The film is a pure narcotized rush of blistering action, odious stereotypes, and shock-for-shock’s-sake nastiness.
It’s a testament to Michael Caine that Is Anybody There? is even sporadically palatable..
Hardly worth a double-dip, but No Country’s ambient horror will pin you to the floor and slice into your neck with a taut handcuff chain.
Observe and Report is funny most precisely because it’s sad—as well as sick, skeezy, and just this side of scary.
The film is elevated by Brian Cox’s hardnosed, desperate performance as the ringleader of a five-man team escaping from a London penitentiary.
Whereas John Singleton’s 2 Fast 2 Furious had fun indulging in incessant auto-erotica, there’s little sexiness here.
Forbidden Lie$’s expressionistic tendencies eventually come off as needless ornamentation.
The film suggests what might happen if you threw Moulin Rouge and Amélie into the same high-speed blender.
Monsters vs. Aliens races about in search of the next witty zinger and for-adults-only pop-culture reference.
The Haunting of Connecticut clearly spent more time on the satanic markings etched into its undead ghouls’ skin than on its script.
Bohdan Sláma’s direction for The Country Teacher has an assured expressiveness that’s at odds with the story’s bumpy narrative.
The film’s consistent ability to amuse bolsters what in effect amounts to a cinematic doodle.
Catalina Saavedra’s performance has an unwavering intensity that serves the film well.
So Yong Kim’s film is a work of tremendous poise and poignancy.
With Goodbye Solo, Ramin Bahrani continues to channel Iranian cinema’s social-realist aesthetic and interest in marginalized figures.
The film possesses a comfortable feel for both its rural Oklahoma setting and Native American community, but little else.
The film’s real-imaginary ambiguousness eventually comes off as excessive affectation.
Sophie Barthes’s Cold Souls strives to affect the loony metaphysical spirit of Charlie Kaufman’s work.
Anarchic craziness makes the revolutionary message go down smoothly in Louise-Michel.
The promise that Alex Proyas showed with 1998’s Dark City is only very sporadically evident in Knowing.