Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
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.
Auteur-for-hire Mark Robson can’t quite reign in a bloated and episodic script.
The film is a fable that’s too often aware of its own desire to be a fable.
Throughout, Michael Haneke’s images are profoundly evocative of his moral and philosophical preoccupations.
Bruno Dumont is clearly fascinated by America’s wide-open spaces, and much of Twentynine Palms is a love poem to the way we look at the world.
You get a sense while watching the film that Gibson would flog each and every one of us if it brought us closer to God.