Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
The film leaves the enduring impression that carnival barker Jean-Pierre Jeunet has run out of new ideas.
The film is not only true to the show’s zany spirit, but manages to sustain that zaniness for a whole 90 minutes.
Casshern at times evokes Dune’s intergalactic soap opera as filtered through the computer game aesthetic of Avalon.
With Born into Brothels, filmmakers Zana Briski and Ross Kauffman redefine the term “photo opportunity.”
Bill Condon’s provocative, problematic biopic takes an unapologetically reverential stance in its portrayal of the 1940s sex research pioneer.
Lost Embrace remains a wearisomely intellectual observation of one man’s search for identity.
Truly an exercise in internal horror, the glossy Tale of Two Sisters could just as easily have been called What Lies Beneath.
This finger-wagging thriller empowers no one and punishes everyone.
The very title of Michael Tolkin’s film evokes slippery visions of both spirit and sex.
Drenched in all sorts of pop-cultural references, Common Wealth is by far Álex de la Iglesia’s most enjoyable film to date.
Cartoons predictably grappling with issues of respect, honor, and subservience, the film’s Asian characters act and sound like throwbacks.
In Eytan Fox’s Walk on Water, the Sea of Galilee is paved with good intentions.
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.
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.
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 reduces the atrocities committed in the African country to the stuff of a rote suspense thriller.