The film is eventually caught up in the very pomp and splendor that it initially lampoons.
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.
A Thousand Clouds of Peace doesn’t so much speak to our cultural consciousness as it bombasts adolescent fears of abandonment.
Magnanimous yet slapdash, The Blonds records Albertina Carri’s effort to satiate her—and her nation’s—parentless identity.
You won’t be able to take your eyes off Anne Reid, whose performance is a thing of rare beauty.
In the film’s spare running time, director Eytan Fox strips away almost anything that doesn’t present a dichotomy of conflict.
Credit Shrek 2 for being the rare sequel that more or less equals its predecessor.
In essence, writer-director Edward Yang uses his aesthetic to bring into the light that which is dark.
Carandiru is slim pickings compared to HBO’s prison drama Oz.
This is a year in the life of a little drama queen who just wants to make it to another.
Ross McElwee asks us to reconnect not only with each other but with our human spirit.
The miscast Rock never comes close to matching Joe Don Baker’s sweaty, ungainly, force-of-nature hick heroism.
It’s depressing that New York Minute’s ideology is being pitched toward impressionable youth.
Here is a Harry Potter film where the filmmaker isn’t trying to fulfill a check-listed quota.
Spider-Man 2 is a superhero flick bursting at the seams with big emotions.
To see Laws of Attraction is to see an actress play the fiddle while her reputation burns.
The film is slim pickings compared to Heathers, but it makes mincemeat out of 13 Going on 30.
Home on the Range gesticulates with the sluggish and unceremonious vibe of direct-to-video Disney or Saturday morning cartoons.