Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
It’s easy to be seduced by François Ozon’s deadly use of silence.
An astonishing work of subtextual feminism which has to count as one of the seminal films of the 1970s.
Mercifully, there’s no offending sermon to talk down to the film’s demographic.
Scott Roberts builds his off-kilter caper with spare parts from every crime film made by the Tarantinos and Guy Richies of the world.
If the film’s visual splendor lacks profundity, Costner does provide a handful of transcendent moments.
Its self-devouring gags quickly reach their expiration way before their all-too-familiar payoffs are announced.
Horror fans take note: Danny Boyle’s 28 Days Later is the real deal.
Alberto Cavalcanti’s contribution might be the finest single episode to appear in any horror anthology film.
Ealing Studios’s opulent adaptation of Alexander Pushkin’s novella is a cult classic in search of an audience.
This unabashedly meaningless affair wholeheartedly subscribes to the more-is-better recipe for cinematic second installments
Confessions of an Opium Eater is mainly about our intrinsic need to make human connections.
It would be a lot easier to dismiss The Hanging Garden if its fetishized details weren’t so naked and boldly autobiographical.
My Beautiful Laundrette is every bit the landmark gay film it deserves to be.
The film confronts a litany of moral conundrums regarding guilt, revenge, punishment, justice, and man’s responsibility to himself and society.
The Hunt for Red October is a thrilling edge-of-your-seat trifle that has admirably withstood the test of time.
What distinguishes Killer of Sheep from films like Clockers is its absence of malice.
The lifeless finale has about as much imagination as a Mini has trunk space.
What could have been a simple five-minute segment on the crisis has become a two-hour celebration of Cuban perseverance.
Its drunk on irony and Jewish folklore, but lacks the existential wallop of the director’s masterful man-versus-earth collisions.
What separates the film from its predecessors is its anarchic, cynical hysteria—its bizarre and dark-as-hell gallows humor.