Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
The film now stands as frontrunner for 2003’s most mindless and physically offensive moviegoing experience.
Well, I guess this proves that Americans aren’t the only ones apt to characterize the French as obnoxious, power-hungry fops.
Michael Bay’s latest jingoistic fetish film could be the most vile creation to come out of Hollywood since Patch Adams.
It serves as a reminder that even the most cunning, ruthlessly intellectual filmmakers can also create wondrous playgrounds.
Agustín Díaz Yanes reimagines Dogma but with none of its moral curiosities and certainly none of its humor.
How to Deal unravels like pages from a self-flagellating tween girl’s diary.
So this is what Camp Mariah must be like.
There’s no investment. In anything. Welcome to the desert of the reel.
Philip Kaufman’s stirring epic reminds us that an equally important motivation for greatness is the fear of being merely second best.
One would think it a curse to have to transform a theme park attraction into a summer cinematic spectacle.
Beneath the surface of Imitation of Life lies the reality of what Sirk rightfully believed was a seriously deranged American society.
A naked man. A naked woman. A slithering snake. A burning bush.
The film’s nihilist point is clear: It’s the world against Trelkovsky and not the other way around.
Once upon a time in the far off land of Syracuse, Jim Boeheim led the Orangemen to the NCAA basketball championship.
Girls Gone Wild meets The Real World in miniature, with Snoop Dogg’s seal of approval.
What is Legally Blonde 2 but a toothless, maudlin version of Mr. Lisa Goes to Washington?
Charlie’s Angels: Full Throttle is merely a preposterous, maximized manipulation of the original film’s winning formula.
Everyone gets screwed in the end, and hoping for anything better is the refuge of the foolish and naïve.
Virtually every one of Altman’s signature hallmarks are very much alive in his 1980 film.
There’s an assured poise to Hulk, a surprising trait to find in a film about an unwieldy green goliath with a penchant for decimating everything in sight.