Tension becomes Caitlin Cronenberg’s film. The release of it, not so much.
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.
For all its facades, nothing in the film reads quite as false as the final scene.
Do we really need to see Cameron and his team of scientists blown up to such nauseating proportions?
Joke-for-joke, it’s not that funny—but it’s almost poignant.
Malibu’s Most Wanted is not, I repeat NOT, the single worst film ever committed to celluloid.
The film preemptively negates any challenges to its pessimistic worldview as fundamentally unimportant.
Natali’s cult favorite is boxed in by its own intriguing central premise.
Its rage is problematic but the film itself is a breath of fresh of air.
Another week, another ethnic buddy yarn.
If not consistently funny, Anger Management is still unusually mindful of human behavior for an Adam Sandler vehicle.
Less shrill than Samira Makhmalbaf’s Blackboards, Bahman Ghobadi’s latest is also less didactic.
Hero is elliptical, primal, radically disjointed, and female-empowering.
There’s only one word it can spell without any trouble whatsoever: B-U-L-L-S-H-I-T.
Neil Jordan seems determined to keep the picture’s momentum as rigorous as possible.
Dysfunktional Family affords comedian Eddie Griffin 90 minutes to talk about all things raunch n’ kink.
Note to cocky drug enforcement officers: Don’t try to be a superman.
Is it summer already? The season for dunderheaded action extravaganzas certainly seems to be upon us with the release of The Core.
Zombie’s film has nostalgia on its side but not much else.
As Straw Dogs makes clear, the consequences of enduring a violent rite of passage is ultimately suffering and alienation.