Winter Solstice ultimately gets lost in its own self-conscious gloom.
Note to E. Elias Merhige: Dude, lighten up!
The Year of the Yao is fashioned with all the objectivity and insight of a promotional special on NBA TV.
Beauty Shop’s feisty female empowerment comedy feels about as fresh as a Jeri Curl.
The film reconfigures Stanley Kramer’s creaky race-relations drama Guess Who’s Coming to Dinner as a farcical comedy.
Attention makeup-wearing women of the world: you are weak, bitchy sissies. So says Miss Congeniality 2.
The Sword of Doom proves itself a film defined by its meticulously precise construction.
The first rule of Shogunate Japan is, “Don’t mess with The Sword of Doom.”
If Sin City’s construction is wholly self-aware, its deliberately affected performances wisely forgo winks to their own outlandishness.
Nina’s Tragedies exhibits scant political subtext throughout its tale of romance, obsession, heartache, and the therapeutic effects of love.
Though the centerpiece of Fox’s new Fox Film Noir series, Laura could stand a bit more audio/video restoration work.
Note to Marc Forster: It’s sheep, not sheeps!
Comic Book Guys can now rejoice: Now you can cream your pants in the privacy of your own home. I mean, your mom’s house.
Labeling this elegant noir classic a whodunit is to ignore its masterfully complex portrait of all-consuming romantic self-delusion.
The Ring Two doggedly treads familiar soggy ground.
It partially redeems Katsuhiro Otomo’s legacy by supplying a coherent narrative to go along with its stunning imagery.
Even for an ugly-duckling-makes-good fairy tale, Ice Princess seems to stretch believability a tad too far.
Sam Peckinpah’s nasty masterpiece is the best Head available on DVD.
After the Apocalypse is bleak, minimalist science fiction reminiscent of Chris Marker via Andrei Tarkovsky’s Stalker.
The film highlights writer-director Rebecca Miller’s frustrating proclivity for overly dreamy, precious storytelling.