The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
The world seems a little brighter, a little sunnier each day we wake up together.
The main character’s gloomy self-contempt is undoubtedly realistic, but it becomes increasingly tiresome as the film goes on.
The film inaugurated Jean Moreau’s extraordinary run of ’60s art films in high style.
Uwe Boll tries his hand at political/cultural satire with Postal and comes up with something smelling awfully similar to feces.
Explicit in Frontier(s) is its maker’s belief that nothing should be left to the imagination.
Iron Man confirms that Robert Downey Jr. is, like his director Jon Favreau, a comedian and entertainer at heart.
Tricked out with so many scattershot digressions and footnotes, the film comes off like the Egyptian version of I Heart Huckabees.
He’s endlessly alert and inquisitive behind the camera, a unique combination of detective, storyteller and philosopher.
Pierrot le Fou, of course, abounds in a wide variety of artistic references.
Anime’s accessibility comes from a suspension of disbelief.
Okay, I’m bored. Something’s wrong. What is it?
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.
Anna Biller’s influences are as naked as her delightfully curvaceous body is in the riotous 1970s throwback Viva.
If any movie aspires to capture What It All Meant, you can’t get much more assertive than Medium Cool.
Jon Favreau recognizes the necessity of entrancing larger-than-life personalities, but his CG-ified artistry prevents the film from trully soaring.
That the black-and-white grit of the immigrant, working-class milieu gives way to a finale of grainy color wish-fulfillment is no big surprise.
The French super agent more or less repeats all of 007’s bad habits, only with his tongue planted so firmly in cheek he looks as if he’s hurting himself.
It’s a bumpy film, and though no one may see it, it’s impossible to imagine it playing as gracefully without Famke Janssen’s conviction to her role.
Maddin discusses the complexities of his latest film, My Winnipeg.
Guy Maddin’s thrilling, ingenious My Winnipeg is a love letter to the Canadian director’s hometown.