Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
Films like Cannibal Holocaust are consumed, even by otherwise jaded gorehounds, as endurance tests. This is their decathlon.
Steve Box and Nick Park’s film is sublime, insightful, and resonant.
Like much of Michael Winterbottom’s work, the film is a highly uneven enterprise.
Hunger is one of Gabrielle’s many subjects.
Sarah Silverman: Jesus Is Magic is mot quite as raunchy as The Aristocrats, but it’s also twice as offensive. Good.
A fatalistic tale of identity, destiny, coincidence, existential malaise, and the boundaries between the real and the imagined.
Emmanuel’s Gift has an unnaturally sustained infomercial-esque feel.
Hou’s latest is a rumination on the symbiotic union between the past and present, the personal and the political.
The film’s first image sets up the template for this magnificently excruciating study of romantic degradation.
Cinderella has probably destroyed more lives than any other Disney film.
It’s not long before you realize that the film is just an excuse to put on a gospel show.
Substitute The Devil’s Advocate’s satanic legal scheming with unethical sports gambling practices and you’ve got Two for the Money.
If only the movie could have found a way to put Shirley MacLaine in every scene.
With Sympathy for Lady Vengeance, Park Chan-wook delivers more virtuosic but empty flash.
Jodie Foster’s Nell might describe Dandelion’s characters as tays een da ween.
David Redmon is impressively hands-off, allowing the material to speak for itself about the headless beast of globalization.
It goes without saying that the discovery and restoration of Beyond the Rocks is a cause for celebration.
Without Jessica Alba’s bootylicious presence, the shallow Into the Blue would sink like a stone.
Through the Forest is a quixotic film of tone-poem rhythms about the unquenchable desire for lost love.
The Brechtian formalism that stirred the more ambiguous Dogville’s philosophical inquisitions is put to uninspired use in Manderlay.