The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
The film is a surreally barbaric visualization of Ôoka Shôhei’s novel.
The lengths Wayne Beach’s story goes to in order to cop a feel from The Usual Suspects is as embarrassing as his Showtime aesthetic.
Sketchy as its lack of dramatic detail and psychological nuance may be, Ping Pong is not without its surprises.
The Lookout naturally invites comparisons to Christopher Nolan’s Memento.
Like his obsessed heroes, Werner Herzog continues to hear the call of the jungle.
Amnon Buchbinder’s very-Canadian Whole New Thing may be the thorniest film on the cine-block.
Like I Am Sam, it is easy to laugh at Marc Evans’s Snow Cake because sincerity appears to have had nothing to do with its creation.
The film seesaws ineptly between stale horror clichés, ludicrously excessive gore, and political allegory.
The film pushes an off-putting message about unchecked privilege that reeks of capitalist pigdom.
Journey from the Fall is strikingly honest but far from lacking in hope.
On the Bowery is one of the most ecstatically beautiful black-and-white films ever made.
Oh, no they didn’t!
Adam Sandler only stumbles significantly when he too vigorously stresses his comedic affectations.
It plays less like a feature-length documentary than it does a poorly thrown together behind-the-scenes supplement to the real thing.
Sandra Bullock’s lack of vanity suits a film about normalcy’s violent end.
It’s a beloved period costume drama, but in terms of visceral impact and camera movement, it’s an action flick.
There isn’t a moment in Memory during which Billy Zane seems natural.
Jean-Pascal Hattu’s debut exhibits a familiar trace of the Dardennes’ observational astringency.
Once is the David Gray or James Blunt of movie musicals, and, amazingly enough, that’s not a bad thing.
Luc Schaedler takes a critical look at Tibet via the story of iconoclastic monk Gendun Choephel in Angry Monk: Reflections on Tibet.