Whenever Ryan Gosling and Emily Blunt aren’t on screen together, the movie magic dissipates.
Home on the Range gesticulates with the sluggish and unceremonious vibe of direct-to-video Disney or Saturday morning cartoons.
It’s easy to see what attracted Guillermo del Toro to Mike Mignola’s Hellboy comic: its hopeful humanity.
Don’t be fooled by The Prince & Me’s questionable marketing campaign.
From its first frames, A Short Film About Killing exudes a cosmic foreboding.
Todd Haynes views glam rock as an art form that allowed means of expression for a band of outsiders.
To say that the second Scooby-Doo movie is an improvement over the first isn’t really much of a compliment.
There is a place and breaking point for everyone here, and Foolish Wives is disillusionment von Stroheim style.
Patrice Chéreau cuts to the core of human agony with the kind of precision that escapes most living directors.
The Ladykillers updates the endearing yet instantly forgettable Alec Guinness heist flick from quaint London to the Mississippi Bible belt.
It’s an entertaining parody of the ludicrous code-of-the-streets machismo celebrated by classic gangster cinema and hip-hop culture.
Monsieur Verdoux still matters, and it’s still an urgent work of necessary art.
Krzysztof Kieślowski’s A Short Film About Love speaks with the tranquility of a parable.
This Dawn of the Dead jettisons character development in favor of quick brush strokes.
The film is an old-fashioned ode to paternal love that shamelessly goes for its audience’s tear ducts.
This umpteenth serial killer procedural opens with a prologue fully acclimated to the motifs of its inspiration.
Secret Window’s plot machinations ultimately overwhelm its sporadic visual inventiveness.
Josef Von Sternberg’s rock solid adaptation of Theodore Dreiser’s An American Tragedy has been long overshadowed for a number of reasons.
My, how times have changed.
Throughout, Paul McGuigan paints around the narrative substance with vacant symbolism.
Though Katharine Hepburn eventually emerges as the star of the movie, Ginger Rogers is the touchstone of its style.