Case 39 impresses in its respect for cinematic space and simple, albeit effective, devices.
Director Terrence Malick recommends that The Thin Red Line be played loud.
You Again’s shallow hysteria barely counts as existential lip service.
It hits enough of the right notes to overcome its half-baked brand of indie sentimentality.
To be, or not to be. Kenneth Branagh’s seminal Hamlet is as conflicted and vital as life itself.
The film is a refreshingly modest look at the vital nature of creative expression.
Clémenti’s cinema resists easy comprehension in much the same way its maker resisted society.
Killers is borderline thoughtful in its consideration of how we define ourselves in the present despite the past.
Do it for Daria. Do it for Jane.
The film is the kind of mass-produced, phoned-in laziness that reinforces mainstream entertainment’s bad name.
Only time—and, purportedly, a third film—will tell if this move is one of audacity or outright stupidity.
“You tired of being stupid yet?” Sanjuro’s insult is praise: He loves you, too.
Reasons to love Yojimbo: “Ask the horny old sake brewer what he says to that!”
It’s clear that the creative forces behind Aqua Teen are still on top of their game.
Stan Helsing’s satire-on-satire approach is little more than a crutch for newfound levels of brazen stupidity and filmmaking laziness.
Paranormal Activity is probably the most creatively efficient horror film of the decade.
It’s been obvious for some time that, with all due respect to the BBC original, NBC’s The Office is one of the great comedic works of our era.
Toy Story does the impossible in casting us up.
After the monotonous guide through history that was In Search of Mozart, Phil Grabsky’s follow-up plays like a much-needed shot of adrenaline.
Given the lack of technical flair on display, saying this DVD transfer does justice to the material is hardly praise.