Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
It would be easier to write off Undiscovered as a committee picture conceived by studio hacks if it weren’t for its distracting direction.
In Separate Lies, the bombshells don’t illuminate emotion.
There are a dozen ways this work could have adapted successfully with a little vision, but c’est la vie, one supposes.
Shadowy cinematography isn’t enough to conceal Peter Hyams’s crashing directorial clumsiness.
Daltry Calhoun proves to be as slight as a blade of grass—and, unfortunately, about as intoxicating as the legal kind.
In spite of its individual pleasures, the film has very little in its head.
Nature has its logic and it’s one that Deborah Koons Garcia defends with sobering integrity.
Transporter 2 is a martial arts-obsessed action movie inadvertently reconceived as cartoonish parody.
The presentation is too fake to be real and not nearly fake enough to be called avant-garde.
Neil Jordan’s film is an odd, at times off-putting mixture of camp inflection and earnest insight.
Thomas Riedelsheimer’s documentary cinema is enthralled by the intangible.
The Glass Shield doesn’t claim its scenario is applicable in every test case.
Don’t ever say that New York doesn’t have a little something for everyone.
A luridly colorful compendium of aesthetic juxtapositions and audio-visual schisms that evoke the frustrated tenor of the era.
Andrew Niccol’s Lord of War is little more than an ammunition-littered variation on Blow.
Slant recently spoke with the director about Monty Python, Buñuel, the hardships of dark comedy and the elusiveness of perfection.
There’s something oddly compelling, albeit pretentious, about the film’s rudimentary visual argot.
This Oliver Twist isn’t the nasty affair that Roman Polanski fans might be hoping for.
The film is little more than a compendium of Hollywood crime-film citations held together by that hoariest of cat-and-mouse clichés.
The film is a homegrown attempt to confront the fanaticism that gripped Nazi Germany during the early 1940s.