On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
The Paranoids may make one wonder if the word mumblecore translates into Spanish.
Aside from the sight of a monstrous granny climbing a ceiling on all fours, there’s little genre juice to these lackluster proceedings.
François Truffaut wrote that Welles made two kinds of films, those with guns and those with snow.
What’s most impressive about Live at the Isle of Wight is the hi-fi quality of the film’s audio track.
It’s plain to see why 20th Century Fox dumped the film in January.
Brightly colored and dreadfully overacted, Nancy Kissam’s Drool is the worst kind of gay cinema.
The film feels liveliest when considering what happens when scientific research collides with the individual egos and desires of those producing it.
Paul Bettany’s performance deserves a better film than this one.
Identity, whether anchored in family, eros, or heritage, is at the root of The Girl on the Train.
The cardinal sin of reviewing a film must be criticizing it for omissions it never cared about including in the first place.
While Johnny Weir’s queerness is never verbalized, the film is inevitably about that.
Resurrection is The Book of Eli’s game, from its tale of a post-apocalyptic society’s reformation, to its hero emerging from the ashes of a nuclear holocaust.
Arnold’s filmmaking style is precise and concise, as tight and lean as her teenage heroine.
Fellini unwaveringly embraces cinema as a cavernous expression of the panicked id.
The film saddles Jackie Chan with sloppy combat sequences and domestic pratfall hijinks that boast all the spark of a black hole.
We live in an age of so many pathetic wannabe cult pictures that it’s refreshing to occasionally come across the real deal.
Geralyn Pezanoski accepts the all-consuming importance of the man-canine relationships as a given.
With his combination of fearless physicality and intense intellect, Michael Fassbender is poised to become the next Daniel Day-Lewis.
What is surprising, at least for me, is my immediate thought upon hearing of Rohmer’s death.
Linklater’s two films move us towards a new understanding of the genre of romantic films.