The Incomer is about being isolated for so long that you forget how to want things.
This thoughtful and provocative European offering takes its time building a mood of palpable dread.
Quirky, quirky, quirky goes Rocket Science. Round, round, round roll my eyes.
Brett Ratner’s glossy direction doesn’t add much energy or style to the vacuous plot and tame action.
One of the least understood movie monsters is the pronoun.
A film like Underdog is best defined by its complete lack of distinction.
It becomes a bleak comic spit into the face of organized religion, organized society, and even organized narrative.
Crossing the Line is compromised by questionable aesthetic tactics and trite psychoanalysis of James Joseph Dresnok.
We’re a long way from the moral ambiguity that colors the poignant parent-child relations and street violence of Los Olvidados.
The film finds searing ways to suggest that men really are overgrown boys, despite their families or wealth or sociability.
In the Valley of Elah is so obviously plotted it could have been scripted by the inflatable autopilot from Airplane!
The film reminds us of a seemingly distant time when the United States was not so alienated from the rest of the world.
The film works best during its pedal-to-the-metal car chases, which are virtuoso musical numbers of screeching tires and vehicles.
This is a tired rehash of every SNL alum’s big-screen debut since Adam Sandler’s Billy Madison.
The film is a lunatic paroxysm of stylistic excess, peripheral ideas, and disconnected scenes.
Ingmar Bergman dies in the morning. Michelangelo Antonioni dies at night. On the same day. In the middle of summer.
Paul Greengrass’s latest plops on the screen with lots of hi-fi energy but, strangely, very little feeling.
For a film that is so whiny, director Ray Yeung’s lack of compassion is shocking.
King of California sees something, albeit not as much as one might hope.
Few modern films so intensely refuse to stick to the medium’s established spatial and temporal principles.
It explores with unpretentious candor how a young girl’s sexual agency rebukes an older generation’s notions of right and wrong.