McElwee discusses, among other things, his new film and staring down the loss of his son.
The film gets some mileage out of mocking fatuous biopic conventions.
It delivers its metaphors with just enough grace to offset the fact that its titular animal seems hopelessly out of place in a kid’s film.
Juno has a fumbling start and an affecting delivery.
Humanity gets a fairer shake in The Violin than in Bruno Dumont’s Flanders.
Ben Affeck’s directorial debut plays like Mystic River for Lifetime.
Ridley Scott and Steve Zaillian seem determined to snuff out bright patches before they can catch fire.
Were The Mist about mist and not monsters, human or otherwise, it might have remained nervy and unsettling.
There’s much more wrong than right with The Savages, an off-putting entry in the daddy’s-dyin’-who’s-got-the-will genre.
Badland may have seemed less derivative were it not for the decision to ape its title after a Terrence Malick classic.
The whole shebang is just a prolonged setup for a bear fight.
With Revolver, Guy Ritchie pushes the gangster film into gobbledygook abstraction.
What is Robert Zemeckis up to, anyway?
The film does little beyond mimicking Napoleon Dynamite’s off-kilter comedic tone and bizarre misfit characters.
Writer-director Don Cato finds innumerable ways to make sure that any hint of humor or social commentary is delivered with utter incompetence.
Kurosawa Akira often referred to Drunken Angel as the movie in which the Japanese director finally found his style.
The film tells of the flickering light of the world waging a losing battle against the overwhelming darkness.
I’m Not There merely adds up to a series of colorful set pieces.
At least Arranged understands that its message is directed at naïve children.
Youth Without Youth principally stands as a great director’s blast-off into crazy.
65 Revisited confirms Bob Dylan as a willing confessor of the calculation in his rich mythos.