Though Visconti operates on the surface level of the material, he crafts a seductive surface.
The film panders to those short on memory as if its central inspiration, Sam Raimi’s Spider-Man, were just released last week.
In many ways, Lost Highway finds David Lynch at his most daring, emotional, and personal.
Morgan Spurlock’s ego makes Michael Moore’s appear small by comparison.
Call it embalmed screwball.
In terms of its cultural and emotional portraits, the film’s neorealist authenticity is nonetheless striking.
This lavishly over-the-top and notoriously expensive oddity is essentially a compilation of Monty Python gags and storybook adventure.
Bonnie and Clyde the movie was taken as nothing short of a cinematic revolution in 1967.
More relevant context for Before the Rainsis its myriad cinematic period piece predecessors.
It serves as a sturdy bookend to Bette Davis’s first fling at Queen Elizabeth I, The Private Lives of Elizabeth and Essex.
The film is worth seeing for its tense first half, and for Bette Davis’s carefully controlled performance.
This is the inaugural installment of a new feature compiling links to reviews of new and recent theatrical films playing in North America.
This week’s episode is a tad bittersweet, as we get onto the topic of independent cinema and how it is being covered less and less in mainstream publications.
The Visitor’s allusions to our fucked-up state-of-affairs feel like gratuitous background noise.
The film expresses how globalization has yet to completely change the fact that the world remains an enormous, imposing, largely foreign place for its inhabitants.
Though not to be confused with Madonna’s new single, Four Minutes is similarly built from cliché.
“It’s a neighborhood movie,” says Jim Mickle, director of Mulberry Street.
Robert Luketic’s 21 is a mini-Ocean’s Eleven about, and for, people who are the age of its title.
That Stop-Loss wears its generally good intentions on its camo sleeve doesn’t keep it from being consigned to the missed-opportunity file.
An issue film that doesn’t play like one, Foster Child hangs compellingly from the shoulders of its characters.
Now in its 37th year, ND/NF kicks off tonight with a screening of the Sundance Film Festival prizewinner Frozen River.