Give me Revenge of the Nerds II: Nerds in Paradise instead.
Filmmaker Carter Smith is going places, something which can’t be said about the characters in The Ruins.
The film’s empty, arousing thrills are quick, fierce, and self-contained.
A character study of two people desperately fighting for a seemingly unattainable life, Matthias Glasner’s film is rigorous and wrenching.
This is contemplative rape film that Irréversible wished it were.
Katrina Browne exhumes long buried secrets in Traces of the Trade: A Story from the Deep North.
Beautiful Losers details the 1990s rise to semi-prominence of a group of anti-establishment, do-it-yourself NYC artists.
Expired coasts along on a distinctively odd wavelength.
Sweet November for the nursing-home set, Elsa and Fred is sentimental mush cooked up with extra syrup.
Peter Tolan’s film is a clumsy mashup of Leaving Las Vegas and Hardcore.
At once snotty and quirky, the winning Persepolis is what french fries are to the Republicans in congress.
The features on this two-disc edition raises the question: Does Waters have stocks in Morton and Campbell’s?
Six diverse women attempt to shape their country’s future in Julie Bridgham’s affecting documentary.
Director Maria Ramos’s tack isn’t to condemn but to simply lay bare.
Stacy Peralta’s pop-documentary style is grafted to sharp sociological analysis in Crips and Bloods: Made in America.
As most of his films confirm, M. Night Shyamalan is far better at setup than payoff.
The film is considerably more engaging than Carmen Castillo’s similar, rambling Calle Sante Fe.
The aesthetic dexterity and psychological depth of Ang Lee’s Hulk is corrupted by Marvel’s reboot of the superhero franchise.
Looks and sounds better than any bootleg video we’ve ever gotten our hands on.
Kung Fu Panda is generally content to simply coast along on a few Zen platitudes and regularly scheduled Po pratfalls.