Ghidorah, the Three-Headed Monster embodies much of what the popular monster films have come to be known for over the years.
Miriam is a paean to Jewish oppression as if commissioned by the History Channel.
Ghost Train cribs liberally from virtually every J-horror film from Ringu to Kairo.
Merely imparting the experience of watching the The Star Wars Holiday Special is a daunting task.
The film is a necessarily refreshing look at the dynamics of revolution.
Rolling Like a Stone is a film acutely aware of its own power over life.
Jay Stern’s film evokes the confrontational intimacy of a minimalist theater production.
The film’s patchwork of plot devices is oddly appropriate given its impossibly moronic, prejudice-ridden characters.
An animated rendering of its characters is virtually the only thing preventing Dirty Dancing from being a crappy Disney romance.
Outright dismissal is the gut reaction that many will have upon first glance at Jamie Kennedy’s new would-be star vehicle.
What a stunning piece of shit this movie is.
The film seems to exist in an uneasy limbo between avant-garde brilliance and completely inane abrasiveness.
The resolution of its subjects—both on and off the stage—succeeds in keeping it as potent as one of ODB’s classic rhymes.
Journey from the Fall is strikingly honest but far from lacking in hope.
It plays less like a feature-length documentary than it does a poorly thrown together behind-the-scenes supplement to the real thing.
Dead Silence is but one more stake driven into the heart of a genre being continuously deprived of its rich heritage.
For all of its lame distastefulness, Behind the Mask: The Rise of Leslie Vernon is a sadly appropriate reflection of its time.
Reno 911!: Miami suffers the most from a timid lack of comedic reach.
Comic book adaptations of late are feeling less and less like feature films and more like depictions of their life-sized action figure counterparts.
What, exactly, is Kubrick satirizing? Our collective obsession with violence?