The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
The film is both a love-struck but tedious ode to cinephilia and a fascinating exploration of sex as a form of political resistance.
Disney was and is a studio with an impenetrably inflated sense of quality control.
There’s never a sense here that these characters are living out the movie Viviane can no longer make.
Hobbits, fish, horses, Asians, pirates and civil wars. This year, the Academy threatens to get all political and metaphorical on our asses.
Not surprisingly, Ace in the Hole was received poorly by the media at the time of its release.
Lucas Belvaux’s On the Run is the first installment in a trilogy of films I’ll hereby refer to as the director-actor’s Trois Genres.
Nothing that happens in one film illuminates what happens in the others.
Despite the closure evoked by the film’s title, Belvaux has suggested that his three films can be watched in any order.
Hiding and Seeking is a testament to reaching out for the better good.
Andrei Zvyagintsev’s macho endurance test is an abject lesson in abject parenting.
The film is a Christmas card to Tokyo’s homeless inspired by John Ford’s religious western 3 Godfathers.
When Spot’s desire is granted by an eeeeeevil scientist, the film suddenly morphs into a dissatisfying and uncomfortable concoction.
Torque is inoffensively diverting, neither a work of inspired genre genius or mere manipulative commercial trash.
Not since that famous tussle with Cameron Diaz’s dog in There’s Something About Mary has Ben Stiller connected so agreeably with a costar.
This lovely video travelogue makes room for every minority in the country.
Osama may seem redundant after Jafar Panahi’s The Circle or Mohsen Makhmalbaf’s Kandahar, but it’s no less powerful.
Just as every action in the film has its own reaction, every image evokes the oneness of the film’s characters to their natural surroundings.
What Far from Heaven was to Douglas Sirk, The Lost Skeleton of Cadavra is to those lovable Grade-Z monster movies of the 1950s.
I was indisposed when a Miramax publicist called to tell me that a media screening I had been scheduled for had been moved.
In forcing its main character to ask big questions, the film awakens him to the reality of capitalism’s tactless, personality-free invasion.