The film understands that historical truth and personal memory are inseparable.
The film histrionically explores how government policy and our involvement in the Middle East affects people in America on a personal level.
Married Life is only interested in its own ironic machinations.
Director Terry George should be mentioned as derisively as Paul Haggis by this point.
Redacted revels in a mixed, often muddled sense of humor and horror.
Hou Hsiao-hsien’s long takes are intimately attuned to his ongoing thematic interest in the bonds between the past, present, and future.
The conundrum at the core of My Kid Could Paint That might have pleased Salvador Dalí.
Dan O’Bannon’s filmmaking techniques are simple and resourceful.
Outsourced is a fish-out-of-water tale of the distinctly white and schmucky kind.
Old people are so funny!
The Axe in the Attic becomes as much the story of its makers as one about the economic and personal cost of Hurricane Katrina.
In the Shadow of the Moon is a documentary on a topic that seems hard to screw up.
Dwayne “The Rock” Johnson is a likeable enough actor, but a clichéd family film like The Game Plan puts that charm to the test.
Masters of horror should marvel at Cristian Mungiu’s canny deployment of red herrings
Welcome to the seedy demimonde of the club Paradise, where Abel Ferrara probes the dreams of lives less ordinary, including his own.
Ridley Scott’s Blade Runner thrives thanks to its fundamental appropriation of noir elements.
You know the old joke about a Monet looking better from afar?
This effective time capsule of the wrongs of racism could have benefited from a dose of Michael Moore-style confrontation.
This is definitely one of those films made of moments greater than the whole.
In the interlude between disaster and reconciliation, Éric Rohmer treats the audience to various symposiums on the nature of romantic fidelity.
There’s not much new here, aside from Lumet’s enthusiasm and simple craft.