You’re not going to find a grander spectacle in theaters right now, and the truth is, you haven’t found too many in the last 15 years.
Critical praise is ever-present in posters and cover art, but rarely is it well incorporated into the design.
From the schoolyard to the psych ward, the bully was a cinematic staple well before becoming a hot-button news topic.
For all its pomp and fabulosity, Mirror Mirror is actually Tarsem Singh’s most minimalistic effort.
The poster for David Cronenberg’s Cosmopolis is markedly demure, a tame puppy to the preview’s rabid dog.
These famous fights to the death should, together, sate even the bloodthirstiest film fans.
This film paints the picture.
The adherence to a Grisham-like structure all but kills the film’s chances of leaving a lasting impression.
While Garry Ross’s efforts are quite commendable, there’s little that seems to boast a unique directorial stamp.
Julia Murat shows a fine grasp of form, letting her technique reflect the elements and moods of her story.
This list is likely the only one to put Nicole Kidman in the company of Lori Loughlin.
Wes Anderson seems to have taken a page from Todd Solonz’s book, and it’s hard to imagine more beautiful results.
She’s perceptive and drawn to unnerving work that can help extract that tough talent she keeps hidden off screen.
Jennifer Westfeldt is juggling so much, it’s a wonder there aren’t more jokes about balls.
Clive Owen should feel rather good about himself.
One selection here is so indelible that its wearer spawned the name for a whole style of ’stache.
His appearance screams “thinking man” and “casual cool” at once, and that’s essentially echoed by what he has to say.
It would seem we’ve passed the era of child stardom all but guaranteeing personal and professional downfall
One really can’t blame much of the film’s defects on the source material.
It’s a good thing the intern remembered to include the collie.