Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
It champions film’s transcendent power to enhance one’s appreciation of life’s boundless wonders.
At best, the film’s first 40 minutes bring to mind the kooky splendor of David Lynch’s Twin Peaks.
The film shows off Gordon Chan’s remarkable ability to transcend the sheer ineptitude of his material.
Sofia Coppola lovingly evokes the film’s many spiritual awakenings via a mod palette that increasingly color-codes her characters to their surroundings.
Austrian provocateur Ulrich Seidl gives the suburbs of his native Vienna a merciless swat in Dog Days.
Romero’s film is unquestionably the most controversial and debated entry in the filmmaker’s unrivaled zombie trilogy.
It’s hardly surprising that Stephen Herek’s career has since steered toward the easy sentimentality of Mr. Holland’s Opus.
Mick Garris’s Critters 2: The Main Course offers a heaping helping of everything that’s missing from the first film.
Also known as Kidnapped and Wild Dogs, Rabid Dogs nearly became Mario Bava’s “lost film” after a series of production hassles.
Douglas Sirk, king of the ’50s Hollywood melodrama, considered A Scandal in Paris one of his favorite works.
The conflict between Hendry and Carrington is one between Force and Reason.
Camp value: High.
A few elements chip away somewhat at Amen’s seriousness of intent, but they do add fire to the stimulating drama.
Kevin Costner’s anachronistic mindset is perfectly in tune with the mentality of the time he’s trying to summon.
Terence Young’s presentation of Suzy’s cloistered surroundings trumps the script’s far-fetched tendencies.
Comparisons between Beware of a Holy Whore and Godard’s Contempt and Truffaut’s Day for Night are unavoidable.
The film’s feminist appeal lies in Griffith’s photojournalistic evocation of the Limehouse district as a deathtrap for women.
It vividly and forcefully evokes a lecherous society’s desire to squeeze the life out of the woman during her moment of weakness.
The film picks up where Love Is Colder Than Death left off, this time with a lot less preening and not a whole lot of gumption.
It’s easy to look at Carpenter’s rigorous framing techniques as their own acts of political resistance.