The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
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.
New Line’s quickie death match Freddy vs. Jason wastes considerable time on needless backstory.
If the film’s scares don’t shock you, then you’re sure to catch its razor-sharp wit.
It’s the range of torment that haunts the film’s white women that truly lingers in the mind.
A sign of the times: S.W.A.T. opens with an aerial shot of the Hollywood sign before quickly descending into white-noise chaos.
The film’s blanched look evokes a heavenly realm where Franz and Joanna’s love is constantly compromised by Bruno’s threatening third wheel.
The film is a rigorous illumination of deception as a survival tactic.
It’s refreshing to find a quaint comedy extolling the virtues of thoughtful consideration and selfless love this pleasantly entertaining.
The film begs for multiple viewings, and if you’re already a fan you’ve no doubt come back for more.
The film is hauntingly hung up on how its heroine is suffocated not only by the people around her but by the spaces she inhabits.
That he was so consistently on top of his game is a testament to his position as one of cinema’s greatest visionaries.
Despite its fascinating subject matter, Total Eclipse is both unflattering and loveless.
The film only perfunctorily pays lip service to wholesomeness while enthusiastically indulging in its disgusting pranks.
The film’s rain-drenched finale ravishingly evokes the horror of being trapped in a situation with no apparent way out.
You’re destined for disappointment if you approach Larry Clark’s latest provocation as an actual film rather than a moment in time.
Romantic comedy. Mob spoof. Dysfunctional family melodrama. Rain Man Redux.
The film wants to pay homage to Harvey Pekar without resorting to a straightforward biographical narrative.