Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
After the one-two-three punch of Tesis, Open Your Eyes, and The Others, Alejandro Amenábar has gone completely out of his mind.
The film’s expressive comedown makes a last-minute terror alert all the more shocking.
The film is a masochistic spectacle of mostly unexamined violence, self-injury, rape, and naughty sex.
For Jonathan Demme, a filmmaker whose raison d’être is the celebration of diversity, Philadelphia is an unfortunate misstep.
There’s little sassiness or swing to this toothless update of the minor late-’60s film that made Michael Caine a star.
At what point after a film is greenlit does a movie exec turn to the filmmakers and demand an intimate “homo” moment between the screenplay’s straight dudes?
The film is a hollow CGI extravaganza that reduces a child’s fantasy trip to the North Pole to a roller coaster ride of excitement.
The film reduces the atrocities committed in the African country to the stuff of a rote suspense thriller.
The film is a wild orchestration of flamboyantly touching images and fair ground theatrics.
The cumbersome Finding Neverland never gets off the ground.
Larry Cohen disquietingly blurs the lines between what’s normal and what’s not, and what it is to love a child unconditionally.
The second and third parts of Larry Cohen’s It’s Alive trilogy are by turns silly and sublime.
The second and third parts of Larry Cohen’s It’s Alive trilogy are by turns silly and sublime.
In the end, the film succeeds only in applauding a materialistic, self-absorbed audience’s pop-cultural cheekiness.
Three on a Couch is a film that flies any number of directions.
John Carpenter wisely turns his focus on the fissures of his own microcosmic civilization under duress than that of their skin and veins.
Like Hitchcock, Lewis’s freewheeling, exquisitely diverting films were often undercut by sinister elements and personal neuroses.
Chazz Palminteri’s romantic dramedy Noel is predicated on all sorts of chance encounters.
Harvey Weinstein may suck, but according to Overnight, Troy Duffy sucks harder.
Jonathan Glazer’s fatal mistake as a storyteller is never owning up to all that is merely hinted at in Nicole Kidman’s face.