Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
Did Zak Penn’s The Grand, an improvisational comedy set in the world of poker, cast itself?
10,000 B.C.’s stereotypically primitive characters have less personality than Stanley Kubrick’s primeval 2001 apes.
The family ends in shambles here, scattered and unreliable, a debt due.
Consider Stephen Chow the true spiritual heir of Jerry Lewis, and consider CJ7 Chow’s The Family Jewels.
Like the mixed martial arts it showcases, Flash Point espouses the belief that there’s nothing quite as entertaining as uninhibited brutality.
Shelley Duvall is one of the weirdest and most beguiling performers to ever find regular work in movies.
By the end of Sputnik Mania, you may feels as manipulated as your are enlightened.
Blindsight instead proves the enduring potential afforded by straightforward verité filmmaking methods.
Girls Rock! presents a warts-and-all portrait of an establishment aimed at teaching kids how to unleash their inner rock god.
Enter Cruella De Vil, and what an entrance.
Throughout, writer-director Antonio Negret only alludes to the seriousness of his volatile social setting.
Pedro Costa’s digital video aesthetic makes light itself a character in Colossal Youth.
While watching one of Haneke’s films, there’s always a sense that he thinks he’s above his characters, his audience, and scrutiny.
The anomic gloom that envelops Frownland fatally impedes its seeming aspirations to the mercurial grit of Cassavetes.
We delve into old-school versus modern films, notably Jinsei Gekojo (A Tale of Two Yakuza) against Battles Without Honor and Humanity.
All Is Forgiven’s style may be hermetic, but all the better to keep the plot away from the melodrama it would’ve turned into in lesser hands.
The Unforeseen neatly encapsulates the problems of the contemporary political non-fiction film.
The film is so perfectly paced, taut, and engrossing that you barely notice when the two stories seamlessly intertwine.
The film illuminates facets of its own self in only the most superficial ways.
One can’t help but feel the presence of producer Terrence Malick, a longtime Austin resident and with whom the project was originally conceived.