Mills’s films might be called fragmentary if not for their unifying spirit of psychological inquiry.
A different way of tackling the sons-and-fathers story, but right up there with the best of them.
This genre landmark has retained its thousand and one delights.
This shocker from 1968 is a time capsule of our fears from yesteryear.
Klein’s films may be more arrogant than anything by Jean-Luc Godard.
It holds up as a spectacle film, spooky funhouse ride and rollicking adventure yarn.
The producers of this DVD reissue made off with all the good extras.
We learn that Indiana Jones was named after the family dog. Aren’t you glad you tuned in for his latest adventure?
It’s amazing how much male pigs are attracted to Sly Stallone.
You know a film is going to be the pits when the director blows his artistic load on darkening the colors of the Disney logo.
A low-budget success in capturing the flesh, and some of the soul, of O’Connor’s twisted salvation fable.
With added scope but little to justify its bloated heft, MST3K is the show’s own Manos: The Hands of Fate.
In the kennel of gay films, Shelter is a puppy dog: It’s cute but it lacks bite.
Romero gives his original masterpiece a modern-day reboot and scores a comeback after the dismal Land of the Dead.
Did you know that fucking is the best way to resist totalitarianism?
An anorexic premise could’ve been a great and unusual disaster film if only Twister had taken the courage to keep everything pared down.
Annie’s “Tomorrow” never sounded so optimistic.
A heartfelt but unsuccessful film that could have been much better with a more variegated point of view.
This is Jeanne Moreau at her “If it feels good, do it” best.
Pierrot le Fou, of course, abounds in a wide variety of artistic references.
We can’t really look at Jean-Luc Godard’s Breathless with fresh eyes, any more than we can see Citizen Kane or Sunrise for the first time.