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.
Its secrets unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts.
The film is as much a relevant view of adolescence and male/female relations as it is an act of remembrance.
Despite a suspenseful jolt or two, this cornball Hitchcock riff is anything but subtle.
Released at the pinnacle of his prolific Mexican period, Él remains one of Luis Buñuel’s crowning achievements.
The whole of the film is less than the sum of its parts, but the parts are often breathtakingly shot.
Galoup is merely a rotten byproduct of a dehumanizing military apparatus, but by film’s end he finally learns to let out some steam.
In American Psycho, there is an exit—it’s just called the future.
The overall effect is like opening a present on Christmas morning.
To think that there are people in America will take the film’s rank sentimentality as an act of humanitarianism.
Get this: In Memento, Christopher Nolan tells his story backward!
The Whip and the Body is at once frightening and hysterical, a gothic rendition of a D.H. Lawrence tale.
Its brilliance emanates equally from its structure, the acuteness of its gaze, and Edward Yang’s acknowledgement of life as a series of alternately humdrum and catastrophic occurrences.
The Shooting pays obvious homage to the classic westerns of John Ford and Howard Hawks.