As far as stuffy Oxford dramas go, Harry Potter and the Sorcerer’s Stone has them all beat.
The film’s humor is snappy, its attention to detail outstanding.
Imagine if you will American Beauty in the hands of Bob Villa.
The film is perhaps best enjoyed by those new to Dargio Argento.
This slick rush job that recalls everything from Trilobyte’s classic video game 7th Guest to Ghost in the Graveyard.
The Simian Line makes you choke on its old-fashioned, spiritless dust.
Ernest R. Dickerson’s Bones out-funks all horror films currently on the market.
This ready-made house of cards owes entirely too much to the likes of Hitchcock, Mamet, and noir magpie Tarantino.
Richard Kelly’s debut feature is a tale of adolescent angst ripe with enigmatic sci-fi underpinnings.
The Man Who Wasn’t There is a Cold War tragedy about a man who is as invisible to the world as he is to himself.
By virtue of existing on celluloid, Tape is cinematic.
Sandi Simcha Dubowski seemingly touches on every facet of a complex dilemma with a restraint that’s admirable.
If you like comedy, don’t miss K-PAX. It’s a hoot!
The film is a flag-waving action yarn even more ham-fisted than Pearl Harbor.
Todd Field’s film tackles grief with nary a hint of weepy melodrama.
Béla Tarr’s precise yet effortless command of the long take is so transcendent as to suggest the presence of God.
Despite playing it safe, the film is saved by its touching performances.
A sniveling diatribe from a great director beginning to resemble someone’s senile grandfather.
The London of the film is a delirious embodiment of a raging inferno, and the many on-screen deaths are remarkable to behold.
The near-hysterical portrait of angelic family life that defines film’s first hour gives way to a daunting portrait of grief.
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