Though Visconti operates on the surface level of the material, he crafts a seductive surface.
After a 10-year absence from filmmaking, Frank Borzage returned for one final summation of his themes.
The only thing easy about geopolitics is its definition.
The film is a penetrating portrait of the craft of acting.
Zach Braff is just about the world’s most insufferable comedic actor, and The Ex does nothing to diminish that reputation.
Joachim Lafosse’s Private Property might be considered a companion piece to L’Enfant.
The film is, as Queeg suggests, carried above the level of “standard” by its excellent performances.
28 Weeks Later rolls in like a poisonous dust cloud of nihilism.
American film in the ’70s extracted much of its power from documenting the fallout from the dreams of the ’60s.
Avant-garde to the last shuttering edit, Guy Maddin’s signature aesthetic is also, paradoxically enough, a classical fusion of style and content.
The film is an astonishingly anti-dramatic take on the children of the failed May ‘68 revolution.
Disappearances has all the elements of a lighthearted adventure, and in Kris Kristofferson, it has its ideal leading man.
This is a film that posits “I love you” as the quick-fix remedy for its characters’ myriad, deeply rooted grievances.
That Spider-Man 3 is a morality play won’t surprise anybody who saw the first two movies.
Once “The Gates” are unveiled, Maysles and his team shrewdly phase out most of the negative observations.
A strained farce in which lots of one-dimensional Brits converge at the memorial service for their family’s patriarch and proceed to act like buffoons.
For the greatest examples of the human condition, one only needed to really look in two places, one in the least likely place imaginable.
The Guns of Navarone ranks among the best war movies.
Carl Austin and Rahila Gupta’s script is too stilted and corny to be affecting, but it is, from time to time, unintentionally funny.
Leon Ichaso’s El Cantante blows its load early.
We can only curse the heavens for so long.