Though Visconti operates on the surface level of the material, he crafts a seductive surface.
A new day dawns and, from this side of the web, it seems business as usual.
How do I loathe the soul-crushingly predictable Made of Honor? Let me count the ways.
It fails to summon from them the magisterial dignity one expects from the finer NYC vomitoriums.
David Mackenzie uses Mister Foe as an occasion to infuse his smutty purview of modern romantic relations with twee affectation.
Tom Kalin’s first feature since 1992’s Swoon is a dull pastiche about the life and murder of socialite Barbara Daly Baekeland.
Death of a Cyclist too often settles for academic subversion.
Albert Lamorisse’s film sees bliss and sorrow as inseparably bound and equally enchanted.
Director Delphine Kreuter uses her silly streak to enforce simplistic narrative roles throughout the film.
Somebody needed to do a merciless sendup of Homeland Security bullshit, but are Harold and Kumar up to the task? Not quite.
Always recorded in what appears to be high spring or summer, Profit motive and the whispering wind‘s succession of memorials is reverent but never somnambulant
The film has always been unfairly overshadowed by its more popular predecessor, El Cid.
For Albert Lamorisse, the pleasures of childhood are as fleeting as they are ecstatic.
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
Both the crypto-zombies of Nightmare City and the film itself are fast-paced sons of bitches.
It mostly works as an example of how difficult it is for Generation X to serve as parental figures for the millennial generation.
Given the hazy historical record concerning Genghis Khan’s life, this portrait must be taken with a modest grain of salt.
Unlike Napoleon Dynamite, the film steers clear of condescension or cruel laughs at its protagonist’s expense.
We’ve all been a bit busy preparing for the oncoming juggernaut that is Tribeca.
Trading in shabby trickery, Deception proves painfully incapable of building a better suspense-movie mousetrap.
What is home, and if we want to leave but can’t, why not?