The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
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.
Matthew Ryan Hoge’s film is Sundance twaddle of the highest degree.
The screener ban didn’t last for long and didn’t seem to do much damage, and come Oscar time, indies may walk away with several big prizes.
The film wants to laugh at all the bloody gore and T&A on display, but to still leave plenty of bloody gore and T&A on display.
Twisted is too afraid to intimately probe the sticky relationship between sex and violence.
This is the closest Kitano Takeshi is ever likely to come to making a full-fledged musical, and it’s a great one at that.
The media circus surrounding Mel Gibson’s The Passion of the Christ threatens to overwhelm the movie itself.
The revolution didn’t break the backbone of a naïve Cuban population, it merely put an end to interracial shagging.
The film is an informative and emotional testimonial to Haitian radio personality Jean Dominique.