Sketches of Frank Gehry, Sydney Pollack’s first stab at documentary filmmaking, is itself something of a rough draft.
It presents a portrait of marriage, adultery, and sex that makes about as much sense as the confounding ellipses in its title.
Think Revenge of the Nerds crossbred with Bad News Bears.
Herbie Hancock’s political musings seem mostly out of place in a film that, in essence, is little more than a glorified EPK.
This interesting, respectful portrait of Vietnam protestors lacks a much-needed measure of dramatic nuance and friction.
The film offers criminal hijinks, pop culture-referencing repartee, and flighty romance that would make even Guy Ritchie wretch.
Chris Robinson skews more toward Roll Bounce authenticity than Belly superficiality with ATL.
Exhilarating, infuriating, mesmerizing, baffling, and out-and-out crazy, 4 certainly doesn’t lack for ambition and outrageousness.
Slither is a serviceably fun, if slightly too polished, homage to creature features gone by.
The film is a turgid series of druggie hallucinations, softcore sexual trysts, and violent confrontations.
See DVD come out. See people with brains not buy it.
The features on this elaborate two-disc collection have been smartly divided into two categories to mirror the different worlds of the film.
Throughout, Keke Parker exudes adolescent fear and frustration with understated naturalism.
Juvenile provocation for provocation’s sake, Hard Candy delights in its stylishly deviant material.
Prepare to feel cheated.
Imagine a heist film cast by the Rainbow Coalition and you have some idea of what Spike Lee does with Inside Man.
Things That Hang From Trees offers a slice of special education-tinged Southern gothic minus the evocative eccentricity.
With The Promise, a once-promising director continues down an ill-advised path toward mainstream mediocrity.
Géla Babluani delivers gimmicky thrills posing as hard-nosed neo-noir with 13 (Tzameti).
This is a brisk but one-note comedy that finds little to say about love except that it’s never as easy as it appears in melodramatic fiction.