Snyder’s space epic plays more to his strengths, but it can’t rise above his weaknesses.
For any overprotective parent whose ever had issues with their kids taking the car out at night, the film should hit closer to home.
Peyton Reed successfully recreates the pathology of a time period without ever really addressing it.
Though the film is, by the writers’ admission, “a love letter to the ACLU,” it is also an absolute reading of the Bill of Rights.
Andrew Jarecki boldly addresses the notion that some victims of child abuse are really just victims of a mass conspiracy.
The film is a ludicrous, insecure psychological thriller that purports to give a human face to Britain’s invisible underclass.
Cuban filmmaker Tomás Gutiérrez Alea’s gutsy Memories of Underdevelopment is a difficult work of political activism.
This shrill fashion industry satire by first-time director Michele Maher is as toothless as they come.
An apologia for all future Susan Smiths, Euripides’s filicidal classic Medea is a simple story.
Guy Madden reimagines Bram Stoker’s classic text as a feverish vision of Christian angst and cultural invasion.
The serial is a towering and radical work of narrative fiction, remarkably attuned to the morality of the time.
It seems odd that much of The Matrix Reloaded’s story is predicated on the issue of choice.
Daddy Day Care seems to exist solely to sedate a theater-going public’s offspring. And while the film’s sense of sobriety should do the job, don’t expect The Witches.
The scenario makes the torment that only child Jaime goes through a much more universal and generic toil.
This is a culture-shock sitcom tailor-made for the teeny-bopper sect.
Someone telephone B. Ruby Rich, because X2: X-Men United can be lumped in as the latest evolution of the New Queer Cinema.
It’s movies like Sweet Sixteen that keep us honest.
While films like Chasing Papi claim to represent the Hispanic cultural experience in America, Washington Heights actually delivers on its own promise.
Identity is very pleased with its supposedly clever but completely nonsensical ending.
L’Atalante stands as one of the most beautiful and rich celebrations of human connection in the history of cinema.
Takashi Miike’s film is as morose and disturbing as it is infused with a sense of the madcap.