The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.
Bresson’s film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.
Louis Malle’s stabs at social commentary are thinly conceived throughout this 1958 debut feature.
As any lonely homosexual can tell you upon leaving a gay club empty-handed, gay people’s worst enemies are often other gay people.
The film’s vision of body movement as an inclusive, non-violent form of social resistance is conveyed with remarkable clarity and vigor.
Mirrormask is so busy gazing at its own sumptuous exterior that its portrait of adolescent maturation and familial reconciliation winds up being frustratingly skin-deep.
It’s hard to criticize the film for exhibiting only a passing resemblance to its now-dated and unfunny source material.
Sébastien Lifshitz’s Wild Side summons a tightly-wound ménage à trios both in front and behind the camera.
It’s not long into the film before you begin to miss the minimalist political paranoia of The Parallax View.
Stuart Heisler’s film is a threadbare, bargain-basement Sunset Boulevard.
Just as Elephant is and is not about Columbine, Last Days is and is not about Kurt Cobain.
This is a star vehicle in extremis. There’s no movie here, really, just Davis and her Role.
The paranoid animal glint that flickers behind Joan Crawford’s eyes in her most lunatic moments is definitely memorable.
Oh, François, you big tease!
House of Bamboo has some of the most stunning examples of widescreen photography in the history of cinema.
Werner Herzog’s camera isn’t only dedicated to capturing the profound bliss of the Buddhist faith.
It’s hard to imagine a documentary more foul-mouthed—or jaw-droppingly, side-splittingly hilarious—than The Aristocrats.
What primarily carries Chris Terrio’s film through its bumpy earnestness is its superb cast.
The film is a motivational video for the Wagner family and the Wagner family only.
It doesn’t so much play out as a sequel to House of 1000 Corpses but as a recapitulation.
This this film epitomizes the selling-out of the punk movement.