Most film critics have a pretty good handle on what it is a director does, what a cinematographer does, what an editor does. Acting, however, remains a little bit mysterious.
The film displays Inoue’s strong directorial hand and perceptive eye for character and mood.
I loved La Vie au Ranch because it resisted the pull of a grand catharsis or some dramatic defining event.
In the world of Street Days everything is for sale, including personal relationships.
Benjamin Willen has an eerie, solemn presence, not depressed, but somehow blunted to any sense of a future.
Mama may have had more power if it had been a short film, the energy having no chance to dissipate as I felt it did here.
The filmmakers are committed to carrying on the tradition of Dogme 95.
Despite the beauty of those dead snakes, the message therein was a bit too on the nose for me.
Õunpuu manages to portray the deep anxieties inherent in “climbing the ladder of success.”
With startling and memorable beauty, Sun Spots blends HD imagery with a slow sense of creeping terror.
Chlanda discusses her process as an actress and her experience making Contact.
It’s a funny thing about repetition.
Grant, as his best characterizations showed, was always his own man.
It hasn’t been easy for Mickey Rourke fans over the last 15 years. He’s given us much cause for complaint, and even despair.
In a world of stick figures, Jeff Bridges is a Michelangelo.