Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
After the success of Halloween, all a slasher pic producer needed to concoct a new franchise was to pick a holiday and go from there.
Naughty indeed.
Why save the world when Angelina Jolie can do it for you…and get laid at the same time?
The Human Stain should be a lesson to us all: It is possible to make a film creakier than Guess Who’s Coming To Dinner.
If the spirit world’s judgement is all eye-for-an-eye, it bears mentioning that there’s an underlying sexism to the film.
Michael Tollin’s bizarre Radio is a syrupy tale of uplift drenched in uneasy Southern comfort.
The Company is about the creative process, but it’s also about weathering it.
Make no mistake: Whale Rider is essentially The Karate Kid Down Under.
Leave it to Joel Schumacher to turn Veronica Guerin into a piece of crude, bland hero worship.
Sylvia is a Lifetime bio-pic set in a BBC melodrama’s charcoal gray gloom and squalor.
In the end, the unexpressive Rodney Bingenheimer is nowhere near as interesting as his friends and neighbors.
Runaway Jury begins as a thriller and ends as a tract that doesn’t even have the decency to be well made propaganda.
Like its predecessor, The Barbarian Invasions plays out as a midlife version of American Pie.
Raja is a romantic tug of war that brings to mind both a Shakespearean comedy of errors and Bernardo Bertolucci’s undervalued Besieged.
José Padilha’s taut, elegantly structured Bus 174 is essentially a chronicle of a death foretold.
For anyone who doubts that a film that’s soaked in camp can’t tackle a timely subject, here is Lipstick.
Tsai’s elegy to a now-departed Taipei theater is also a beautiful love poem to the movies.
There’s no humanity buried beneath the life-is-bleak passages of Barbara Albert’s film.
Ross McElwee’s documentary reminds us to cherish every mysterious moment in our lives.
Since Otar Left is meant to play out like a fable, but Julie Bertuccelli’s direction isn’t nimble enough to carry it off.