Despite some remarkable musical pastiches and riveting set pieces, this postmodern wank-job doesn’t have much of a heart.
Not surprisingly, the film’s most effective scene is also its least pretentious.
The film is a ravishing evocation of a unconsummated romantic relationship put through an emotional and cultural ringer.
The Shooting pays obvious homage to the classic westerns of John Ford and Howard Hawks.
Woody Allen has grown up a lot since Take the Money and Run and it shows.
The ending is a bit pat, though the film’s simple truths about the nature of family and friendship will give young children something to chew on.
The whole of the film is less than the sum of its parts, but the parts are often breathtakingly shot.
The film is as much a relevant view of adolescence and male/female relations as it is an act of remembrance.
In American Psycho, there is an exit—it’s just called the future.
Despite a suspenseful jolt or two, this cornball Hitchcock riff is anything but subtle.
Galoup is merely a rotten byproduct of a dehumanizing military apparatus, but by film’s end he finally learns to let out some steam.
The Whip and the Body is at once frightening and hysterical, a gothic rendition of a D.H. Lawrence tale.
Its secrets unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts.