This year brought 18 features and seven shorts, all presented with live musical accompaniment.
The best special effect in Danny Boyle’s hectic, ultimately tension-dispersing latest is James Franco’s performance.
The Mexican Revolution wasn’t one rebellion, but several.
Vincent Gallo’s high-pitched whine is back in full force for his latest effort to seize the title of cinema’s great, obnoxious total filmmaker from Jerry Lewis.
Beefing about snubs has become an annual sport, but committee deserves credit for filling the slate with a range of intriguing, less buzzed about films.
You could disagree, and claim that a few pop selections help people notice the small stuff. Hopefully.
François Ozon’s latest is more like Pastiche.
Miral is a middlebrow stew of distracting star cameos, stilted speechifying, and references to The Battle of Algiers.
Takashi Miike embraces his inner classicist with 13 Assassins, a sturdy yet surprisingly conventional samurai saga.
Only tutus and pointe shoes separate the dainty stage in Black Swan from the gladiatorial ring of The Wrestler.
The Town is a fatuous star vehicle that leaves little doubt about who gets the most soulful close-ups.
Could Box: The Hakamada Case have the impact of The Thin Blue Line?
Though Miss Mouche is farfetched, it does present an honest portrayal of the concerns and behavior of a girl on the verge of adulthood.
More than three decades after his death, the legacy of William Castle still burns as brightly as a Fourth of July fireworks display.
Viewership is by nature bisexual.
Annyong Yumika is nothing if not thorough, often amusingly so.
Mann loved the west like he loved Greek tragedy or Shakespeare, as an arena for moral and visceral conflict, so intense as to become mythical.
There’s a degree of expectation when it comes to this festival and its assortment of genre-bending films.
Whether the system works or not at this point is apparently irrelevant, a concept that totally undermines the film’s premise.
It delivers the message that was missing from the other film from this series that’s playing at the Human Rights Watch festival.
The Mexico of Backyard terrifyingly resembles an American funhouse nightmare of subaltern stereotypes.