On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
If the film’s half-baked salaciousness feels merely risible, its slapdash screenplay and cheapo look make it something that its generic forbearers rarely were: boring.
In David Cronenberg’s Crash we are given a collection of characters with often overlapping but not always similar sexual fetishes.
In Search of Memory is a deservedly celebratory, if gratingly desultory, examination of the biological mechanisms that enable learning.
The film is the ne plus ultra of feature-length DIY video production as well as an obsessed fan-auteur’s “one-man war.”
Leap Year is like most relationships: You keep waiting for it to get better, until you finally accept that it won’t.
The process of education has begun, which is what the film is going to be about.
Even apart from the film’s vaguely insane endorsement of love at all costs, there’s the fact that much of it is simply not very funny.
Wonderful World is a checklist-indie that offers up clichés with gusto equal to that of its earnestness.
The putative objectivity of Waiting for Armageddon isn’t quite politically savvy enough to strike its realpolitik target.
After the dreary imitativeness of Undead, the Spierig brothers find themselves once again on derivative ground with Daybreakers.
Garbage Dreams’s images have the unsettling primal power of a dystopian sci-fi movie come to life.
Successful or not, there’s something about the rebbot that I gravitate toward.
Altman imagines the army barracks as a hothouse environment where tensions and fears play out in oddly manic outburst.
Lee Yoon-ki is a humanist.
Chabrol, Depardieu, murder, family quarreling—all seemingly wonderful elements that, when put together, should be engaging and fascinating.
What is life but a string of silly exercises?
In The White Ribbon, all feeling is stifled, and this repression breeds repression.
Here are the films with images that shifted around most in my mind throughout the aughts.
The Blind Side is a ghastly but revealing movie, not least for one scene with Adriane Lenox.
The success of The Chaser lies in its angularly superficial courage.