These films are generous reminders that cinema isn’t always about diagnosing global problems.
Cujo, as a film, is your classic glass half empty/glass half full scenario.
A Broken Sole is a bad movie, worse theater.
It’s hardly surprising that the story is merely an excessively convoluted rehash of its predecessors.
O Amor Natural remains hopeful about the unifying potential of Carlos Drummond de Andrade’s poetry of desire.
A documentary like Lynch seems about as close as we’re ever going to get to the director’s inner thoughts.
Steve Carell’s pursed-lipped awkwardness and sweet buffoonery aren’t enough to salvage this incorrigibly hackneyed film.
The Living and the Dead is most effective as a promise of greater things to come.
It wouldn’t be nearly as effective a film if one weren’t attuned to the hidden diametric pull between various fissuring elements.
Mostly, this film is a smug literati’s interpretation of a May-December romance.
Everything’s not cool.
It’s easy to imagine a much warmer film experience had director Ben Niles focused entirely on the private lives and dreams of the technicians.
The film’s atmosphere of simultaneous intimacy and disconnection is haunting.
Not only is the film dumb as a rock, but it’s also far too convinced of its import to be any fun.
It is fitting that she sings a blues number, for Bleek Gilliam has had plenty of reasons to have the blues.
Watching Anton Corbijn’s sumptuously shot Control, the wisdom of Werner Herzog filled my head.
Black White + Gray draws out the unseen riches that exist within what may otherwise appear typical or commonplace.
Anatoly’s crisis never feels resolved, simply dissolving into the gauzy ether of the film’s Orthodox pageantry.
With all the characters busily turning their lemons into lemonade, this film risks little and demands nothing from the viewer save tears of empathy.
How to Cook Your Life may gently preach about organic cooking, but gentle preaching is still preaching.
It’s easy to see why so many are impressed by Cristian Mungiu’s much-lauded Cannes prizewinner.