The sticking point for The Box is how well it succeeds as Richard Kelly’s version of a mainstream, commercially viable bit of speculative fiction.
If you’ve ever watched Unsolved Mysteries, you’re already well acquainted with the pleasures of The Fourth Kind.
Christian horror films wear their faiths on their sleeves, but more often than not their protagonists wind up coming to terms with their own agnosticism.
Spoilers ahead, this is going to get ugly.
Jonathan Parker regurgitates a diluted version of Todd Solondz’s schtick, all condescension and none of the moral probing.
Ong Bak 2 is infused with an urgency and relentlessness that few contemporary action films have.
Antonia Bird’s Ravenous is an exciting, new kind of gothic horror film.
Forgive me if I sound like a dime-store psychoanalyst, but Romero’s begging you to put Barbara on the couch.
Filipino filmmaker Raya Martin confuses broad scope with great depth in his alternate-history fable Independencia.
I can forgive Corneliu Porumboiu’s film for its didacticism because it feels well-earned.
Though he handily gets by on screen thanks to his effortless charm, Stanley Tucci is probably a better director than he is an actor.
The series’s story is no less complicated, and it shows from the amount of plot You Are (Not) Alone crams into 98 minutes.
Sorority Row is a more estrogen-fueled version of I Know What You Did Last Summer.
Intermittently, when the elaborate Rube Golderberg-style deaths are entertaining, as in the film’s climax on an escalator, its mindless enough to be fun.
Beeswax’s excess of ambition does not suit Bujalski’s modest but effectively unvarnished style.
Robert Rodriguez’s Shorts may have a more complex narrative than Spy Kids but it’s otherwise just as bland.
The film shines strongest in the scenes where you can see Li Ying’s authorial fingerprints most clearly.
There’s a pervasive and unintentional Raimian sensibility to the film that undermines its Polanskian underpinnings.
Marcus Dunstan’s The Collector signals much of what’s wrong with torture porn.
While watching Sacha Baron Cohen’s latest parody of American narcissism and bigotry, another cinematic prankster came to mind: Lars von Trier.