Franco’s aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
To many fans dismay, the arenas in which the film is most likely to fall short are the acting categories.
On the eve of A Single Shot’s release, Wright squashes a myth I’d been told about his pre-acting life.
There’s homage, and then there’s the new poster for Alexander Payne’s Nebraska.
Greedily tries to cram every dystopian curse into one misbegotten plot, resulting in something wildly disjointed, even if its pieces arguably connect.
Steve McQueen doesn’t seem to know the difference between the unflinching and the gratuitous.
Beautiful, poetic, and hard-hitting without the use of excessive force and deeply layered with evolving and regional nuances of feminine experience.
Writer-director Haifaa al-Mansour’s film plays less like reality and more like boilerplate filmic fantasy.
Even amid the troubling trend of remaking films that have barely collected a speck of dust, there are still movies that can surprise you.
We seemed to cover everything from the gifts Jonathan Demme and Lynn Shelton share to watching movies on drugs.
So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it’s on the scandalous menu.
Brannan discusses his new EP and the odds of getting a job after broadcasting video of himself singing on the toilet.
Some of the film’s most memorable moments involve Niall and Liam looking down on oceans of screaming devotees in the street, and controlling their cheers like orchestra conductors.
The film’s box office and critical successes probably mean that its nomination haul won’t end with Blanchett.
The film is a lot more fun when it’s completely nonsensical, before its baddie’s motives and harebrained plot are funnel-fed to the viewer.
Perhaps Matthew McConnaughey’s gifts as an actor will help form a template for narrow-minded bigots.
Don’t let her pixie-ish presence fool you; Audrey Tautou, star of Claude Miller’s Thérèse, has quite the wild streak.
This is the first film year in a long while that’s made me want to applaud Harvey Weinstein.
You’re Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
City of Bones blasts by for a while as an odd and busy slice of highly watchable garbage.