McElwee discusses, among other things, his new film and staring down the loss of his son.
Silk has superficial beauty but no soul.
The film is a multifaceted character study that recognizes that success and failure are often byproducts of the very same impulses.
Ang Lee busts a nut with Lust, Caution.
The Price of Sugar’s motive is to open American eyes by illustrating where domestic sugar originates.
The film is an eye-popping pageant parade masquerading as rapturous religious art.
Julie Taymor is clearly trying hard to gussy up a screenplay that plays more like The Wonder Years without the cultural insight.
Save for Silent Light’s bookend sequences, Reygadas works mainly in the implicative margins.
Argento’s triumph comes in fusing two schools of cinema-thought together, cranking the gore and monster quotient up to 11.
Moviegoers beware: nausea is a prime side effect of consuming Feast of Love.
The Man From London is a multifaceted apotheosis.
If it weren’t for the actors, there wouldn’t be much to watch up there, just a dusty plain.
A sturdy genre piece, 3:10 to Yuma is not Delmer Daves’s best western, but remains a solid ride up to its climax.
It hurts to see Neil Jordan’s name attached to something as deplorable as The Brave One.
Romanticization takes precedence over analysis in Sean Penn’s Into the Wild.
The portrait painted by Darkon is of low self-esteem and a consequent retreat into immature imagination, and its depiction of grown adults playing pretend is unavoidably funny.
Run, Fatboy, Run so slavishly hews to a familiar rom-com template that it quickly makes itself irrelevant.
The Unknown Soldier is like an orchestra of our collective unconscious.
With The Brothers Solomon, Will Arnett continues to squander the goodwill he engendered as Gob on Arrested Development.
The film probes man’s interior and interpersonal conflicts while menacing him with external supernatural forces.
The direction shows a loose-limbed, sideways-glancing touch that hits the gags without suffocating them.