Outsourced is a fish-out-of-water tale of the distinctly white and schmucky kind.
Old people are so funny!
This effective time capsule of the wrongs of racism could have benefited from a dose of Michael Moore-style confrontation.
Resident Evil: Extinction brings to mind an alt-metal remake of Romero’s Day of the Dead.
The Unknown Soldier is like an orchestra of our collective unconscious.
James Wan continues to beat us over the head, though this time he has the decency to do so with some semblance of human emotion.
Pernille Rose Grønkjær’s film remains a moving testament to humanitarian goodness.
Zhang Yang’s film knows a thing or two about child-parent dynamics.
Oliver Hirschbiegel seemingly rises to the task of coloring this tale with the necessary moral shades and silent fears of our Big Brother times.
James Isaac’s Skinwalkers wears its B-movie badness on its sleeve like a badge of honor.
A film like Underdog is best defined by its complete lack of distinction.
I Know Who Killed Me at times suggests a hack’s attempt at a Lynch film.
Walking to Werner’s aesthetic bears Linas Phillips’s own creative stamp but it effectively channels Herzog’s pathos.
Sang-Il Lee’s film stands as something of a companion piece to David Fincher’s Fight Club.
Captivity would seem to think that having low standards somehow guarantees it legitimacy.
No one should be allowed to attend a screening of In Search of Mozart without a Red Bull in hand.
Over the GW is appropriately troubling in its evocation of humanity’s penchant for self-destruction.
Steadfast tradition and encroaching progress lock horns in the surprisingly cheerful Hula Girls.
One whopping minute longer than the theatrical version hardly anyone saw, Dead Silence is still one of the worst horror films ever made.
Do not forget the Infant Island song and behold the untold wonders of Japanese cinema.