Okay, so Angelina Jolie was born to play Lara Croft.
It would be impossible to discuss Baise-moi without mentioning Abel Ferrara.
Sometimes a fart joke is just a fart joke and sometimes a fart joke manages to transcend its mediocrity.
Swordfish is frenzied Hollywood glamorization at its most amoral.
Despite the old-school look, Atlantis feels unpolished, both gawky and colorless.
If this is America, then Norman Rockwell is turning in his grave.
Despite some remarkable musical pastiches and riveting set pieces, this postmodern wank-job doesn’t have much of a heart.
Luis Mandoki’s Angel Eyes could pass for a lost M. Night Shyamalan film.
Is it possible for a production company to crank out a cartoon fable without having it whitewashed with Disney’s fairy-tale idiom?
The film is fraught with all sorts of erotic displacements and rituals of denial.
The film is cheekily fascinated by the murderous nature that seethes beneath even the most tranquil individuals.
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.
This pumped telenovela is very much the film Kieślowski would have made had he followed Buñuel’s lead and voyaged to Mexico.
Widely regarded as Ousmane Sembène’s finest achievement, Xala is a cutting morality tale.
Cameron Crowe proves that self-absorption isn’t a generational thing.
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.