Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
Ruby Dee may be the only one that generates honest goodwill with a titanic slap worthy of the category’s “season vet” slot.
Suddenly, the Oscar race is being headlined by a pair of uncompromising, boldly conceived pieces of formalism.
Fleshy, often blowsy, and intrinsically good-humored, Joan Blondell was a Warner Bros. dame of all trades.
The film proves that Hollywood doesn’t have a monopoly on ponderous, ersatz-thoughtful war dramas.
Callie Khouri’s film is unbelievable, slapdash, and idiotic in virtually every respect.
Brian Kellow is nicely attuned to the soft/tough dichotomy in Merman. Here was a woman capable of sympathizing with her friend Judy Garland’s illness, yet blind to her own daughter’s needs.
A landmark year for me as well as for the movies.
Lee’s first feature-length film was one of the lynchpins of the burgeoning American indie movement of the ’80s.
The film is at its most affecting in the childlike scenes between the main character and a young native girl he befriends along the way.
Director Nadine Labaki’s fondness for juxtaposing two thematically analogous scenes eventually becomes more wearisome than winsome.
The saucers are the most expressive characters in the entire film.
The Air I Breathe is a breathtakingly bad Altman rip-off that seems like a wholly unintentional parody of multi-narrative films.
The villain may be Untraceable, but it’s easy to pin down the influences of Gregory Hoblit’s serial killer snoozer.
In an about-face after Man Push Cart, Ramin Bahrani tends more to his story’s neorealist particulars than to exploiting its symbolic potential.
Though it probably amounts to the equivalent of cinematic racism, I can’t stand fanboys.
Jia Zhang-ke has an uncanny way of grounding his portraits of alienation in settings that are at once allegorical and tangibly lived-in.
Like Charles Burnett’s Watts working men and women, Ilya Chaiken’s characters seem doomed by a future that’s at once personal and political.
My obsession with David Byrne and company, as so often happens with me, started with a movie.
It would seem that David E. Talbert has been keeping close tabs on the creative recipe for success concocted by Tyler Perry.