Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
If you’re the type who cranes his neck to eye a car wreck, Laura Smiles is a mess that must be seen to be believed.
Released in the midst of renewed Cold War nuclear dread, Red Dawn doesn’t starve for unintended wackiness.
Karlson’s less interested in banter and romance than he is in slaps and chokeholds.
It’s the sudden entrance of a jealous beau, and a conveniently nearby pair of scissors, that finally jumpstarts the narrative engine.
Orson Welles’s The Stranger is the comeuppance that Hollywood felt he deserved for being such an arrogant genius.
Molière offers a harmless, fairly breezy fabulist romp about the life of the great French satirist.
Walking to Werner’s aesthetic bears Linas Phillips’s own creative stamp but it effectively channels Herzog’s pathos.
My resistance may also be attributed to the fact that I don’t think it was a very well programmed double bill.
The Pirate lacks consistency, but it’s so off-beat and subterranean that it will always be of interest as a cult film.
A key influence on the French New Wave, Les Enfants Terribles is a film that is difficult to classify.
The film puts on a surprisingly mawkish show of political correctness against distinctly retrograde forms of homophobia.
Sang-Il Lee’s film stands as something of a companion piece to David Fincher’s Fight Club.
Aee after the break for links to the three articles (par moi) that are mentioned during the segment.
Your Mommy Kills Animals presents a portrait of America’s most prolific in-house terrorist movement: the Animal Liberation Front.
With The Sugar Curtain, documentarian Camila Guzmán Urzúa cinematically strives to reconcile herself with her memories.
Captivity would seem to think that having low standards somehow guarantees it legitimacy.
No one should be allowed to attend a screening of In Search of Mozart without a Red Bull in hand.
Dread pervades Harry Potter and the Order of the Phoenix, the series’s most propulsive and altogether satisfying installment.
Woe are the fools who define themselves by physical appearance.
Talia Lugacy’s film is a heady and artful consideration of a rape victim’s torment.