Though Visconti operates on the surface level of the material, he crafts a seductive surface.
We’ll take bottom-shelf Harmony Korine over just about anything else currently playing in theaters.
Malta’s tourism industry will likely survive this mirthless rom-com.
The film’s amplification of scale and subject matter isn’t, alas, accompanied by an upgrade in humor.
Julianne Moore does not settle for facile vamping, conveying a chilling combativeness and tragic sense of emotional resignation.
The film is concerned less with the damage caused by the Three Gorges Dam to the environment than to China’s rural citizenry.
The film balances portraying an everyday sense of the adolescents’ wartime anxiety with the more commonplace juvenile relief.
The documentary shows that Philippe Petit’s success had as much to do with his skill as a salesman as it did with his otherworldly equilibrium.
Hawking a simplified view of cause and effect, Elite Squad would make a fitting double bill with Battle for Haditha.
Even if it doesn’t quite sustain its spell for the full 99 minutes, it’s an infectious autumnal work brimming with wit and love of life.
The film is biting, but as allegory it’s featherweight.
For me, movies approximate a dream state.
Saying The Promotion’s tone is all wrong would imply that it had a tone to begin with.
The documentary’s goodwill is a corrective to Morgan Spurlock’s repulsive Where in the World Is Osama bin Laden?
Wong’s sense of artistic priorities is the true subject of My Blueberry Nights.
Everybody in Ho’wood wants to be a serial killer.
Oren Jacoby’s Constantine’s Sword is an intriguing documentary exploring the “dark side of Christianity.”
Dialogue is a blunt-force trauma in Helen Hunt’s directorial debut.
It needs more of Tina Fey the sharp, witty writer, as the film is as pedestrian and middling as they come.
Image, like identity, is always coming into focus throughout Fugitive Pieces.
Though broader and less funny than Idiocracy, the political commentary of Zombie Strippers is effectively one-note.