Jig doesn’t twist itself into the self-important, exploitative think piece on youth ambition that Spellbound was.
The point is not to fix what’s happened but to learn to live with it.
Spork more or less toes the line of every teen comedy from Welcome to the Dollhouse to Mean Girls.
As Romy and Michele proved, a good female-driven comedy need not aspire to more than dancing on a rooftop.
Going solo has allowed Erika M. Anderson to make something genuinely personal and almost frighteningly honest.
Break out the eyeliner, turn up the bass.
Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden raises more questions about Stefani Germanotta than it answers.
The old stuff? Well, Polly Jean Harvey seems happy to keep it that way.
Robert Redford nimbly dramatizes a historical moment that’s politically relevant without being explicitly preachy.
You’d be forgiven for thinking the coverage of LCD Soundsystem has gotten out of hand lately.
Trust isn’t quite To Catch a Predator: The Feature Film, but it’s close.
Vices & Virtues is arena music at its most inane.
Andy Warhol’s documentary is in absolute lockstep with the textures of its soundtrack.
Putty Hill isn’t really about death at all as much as it is about the more mundane ways that people deal with being hurt.
As movies about the fashion world go, Dressed isn’t very fabulous.
Murphy talks about what it’s like to work with PJ, turning the camera on his homeland, and his love of David Lynch.
Skins wants badly to be noticed.
The Dilemma more or less reviews itself by plot description.
It’s not entirely clear why this movie even exists, except maybe to resuscitate Jack Black’s career.
As innocuous as it is, the well executed, well-meaning Life As We Know It is full of isn’t-this-charming moments.