Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
The film exists in a fantasy New York City no one has ever seen before.
The success of The Five Obstructions depends almost distressingly on the audience’s cheeky sense of bad faith toward Lars von Trier.
The long-neglected middle child of art cinema’s triptych of psychodramas surrounding misplaced/mistaken/stolen female identities
Playing Melvin in the film, Mario taps into the madness that drove his father to re-politicize the way blacks were consumed on screen.
The film ends up too steeped in surrogate conscience twaddle to even be bothered to provoke a response, positive or negative.
At a certain point, the film is not merely bathing in its puddle of grotesquerie, but drowning in it.
This millennium edition of the film exists only to give Jackie Chan a hundred different places to kick the shit out of people.
You wouldn’t know by watching the film that it’s adapted from Jim Davis’s adorable but one-joke comic strip.
The painfully unfunny Saved! is every bit as reductive as your average high school underdog fantasy.
Tarantino’s Kill Bill saga concludes with a profound and challenging second volume that is sure to be divisive.
The Punisher may actually be bad for your health.
Elaine May recognizes the importance of trumping hollow laughter and infusing it with depth of feeling.
Connie and Carla allows Nia Vardalos to showcase her abject desire to mug for the camera.
In 13 Going on 30, women are allowed happiness, but only if they choose the right man.
Alexandre Aja is so concerned with setting up a shot that he can scarcely be bothered to offer moral or emotional clarity.
The film is drawing dubious comparisons to Eraserhead and Edward Scissorhands, as if its air of weirdness could actually be called surreal.
Is Seeing Other People the pilot for a failed FOX sitcom spread out to an impossibly long 90 minutes for the big screen?
Coffee and Cigarettes is more fun to reminisce about afterward than it is to endure.
Meet Me in St. Louis remains one of the most vital of musical films.
We’d all do best to remember The Alamo in order to forget it.