Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s.
The Method suggests Glengarry Glenn Ross with its teeth knocked out by Tony Soprano and nursed back to health by Mark Burnett.
Romanian-Israeli documentarian Shimon Dotan takes a hard-nosed look at the social and political culture of Palestinians doing time in a high-security Israeli prison.
The film, despite the its supposed “based on true events” credentials, comes off as merely so much preposterous, contrived nonsense.
Nelson Pereira dos Santos’s film is jaundiced cultural allegory dressed up as anthropological re-creation.
Ghost Train cribs liberally from virtually every J-horror film from Ringu to Kairo.
The 60th edition of the Cannes Film Festival has come to a close.
Take a look at Princess Leia on the posters for Star Wars movies IV through VI.
Merely imparting the experience of watching the The Star Wars Holiday Special is a daunting task.
The film’s optimistic integration of intellectual and physical impulses lends it a feeling of wholeness closer to Howard Hawks’s later, more serene films.
Slender but lovingly textured, The Wedding Night is worth discovering.
Fido never goes anywhere interesting or particularly funny with its sketch-comedy premise.
Dylan McCormick’s indie jalopy leaves no hackneyed stone unturned.
Any film that slams Gandhi as something of a selfish, thoughtless prick deserves credit for audaciousness.
These anecdotes show, to my taste, what it was that was so special, so positively great about this American icon.
It’s apt that Disney’s Pirates of the Caribbean trilogy has experienced a trajectory not unlike that of a rollercoaster.
It achieves true force only once it ventures past abstract homily and into visceral concreteness.
It’s as if director Poll and screenwriter Gustin Nash watched Rushmore on a loop and tried to make it palatable to the mall crowd.
The film exhibits enough unfussy familiarity with its tattered blue-collar locale to overcome its more well-worn components.
Revenge of the Sith is the grandest third act in space operas.
With Bug, William Friedkin uses light, color, and sound to evoke subjective experience.