Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
Prudes be damned, Radley Metzger doesn’t soft-sell the gay sex in the slightest.
A great many supernatural things happen in The Jacket, though they ultimately make little sense and amount to even less.
It’s no surprise that the film’s only enduring legacy hinges on the psychological destruction of, as Madonna put it, “where life begins.”
Before parodying your action superstar image, don’t you first have to be an action superstar?
The film is more intriguing for behind-the-scenes gossip than its rather familiar screwball comedy machinations.
Save yourself the trouble: Skip D.E.B.S. and rent Pootie Tang instead.
Lipstick & Dynamite is but a goodhearted puff piece unable to deliver on the promise of its loaded title.
Dust to Glory is damningly scored with variations and remixes of James Horner and James Newton Howard compositions.
The proscenium arch that marks the difference between theater and film doesn’t get obliterated in Cukor’s film.
Unlike the FOX News Channel, Gunner Palace does not have the audacity to use “fair and balanced” as its ad slogan.
There’s a cult around Howard Hawks, who was unquestionably one of the most competent filmmakers of his era.
Is The Philadelphia Story about cutting Katharine Hepburn down to size?
Bergman’s film is one of cinema’s great comedies, consistently producing the kind of hard, hearty laughter that nourishes the soul.
The central conceit, that theater is the house of true art and film the way station of the illiterate, might’ve come off as self-important on stage.
The best thing that can be said about Cursed is that it’s scarier than Teen Wolf Too.
The Tracker follows an admirably clear-cut narrative line, without hedging or redundant plotting.
Shosho is scarcely complex, though you wouldn’t know it from Anna May Wong’s gaze.
The film is a stark and stylistic hybrid of the Dardennes’ formal austerity and Terrence Malick’s lyricism.
It’s comforting to know that one of my favorite critics, David Edelstein, doesn’t take the Oscars very seriously.
Off the Map evokes cave paintings coming to life.