On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
Fireworks announces not only a new kind of cop movie, but a template for a new kind of Takeshi Kitano film.
With its pretty close-ups of pretty actors and pretty slow-motion shots set to pretty songs, Closer settles for preciousness.
Martin Scorsese’s interest in would-be supermen struggling to reconcile their warring impulses reemerges in The Aviator.
Sleepover will do for tween girls what Max Keeble’s Big Move did for prepubescent boys: get them beat up at school.
The Incredibles may fight to save the world, but they teach us to know thyself.
Explorer of American imperialism, director Oliver Stone turns to the ancient world to examine the life of a different kind of president.
The film is proof positive that writing a successful action film and directing one are two entirely different beasts.
Like any good mood piece, it’s best to be in the mood for it. Now, can someone pass whatever Noi is smoking?
Of course, the film isn’t in the same league as its predecessors.
Serial killer film flops are a dime a dozen, and Suspect Zero is worth slightly less than a penny.
What is the film’s Buddhist idol but a lazy MacGuffin used to excuse a last-act contrivance of soulless CGI brouhaha?
The Clearing needed the firm hand of a Hollywood insubordinate, not a sycophant.
One could say that Innocence thinks so much that it ultimately has very little to say.
Why can’t we all just get along?
Turns out, Some Kind of Monster isn’t so such a “rock ‘n’ roll movie” as much as it is two hours of couple’s therapy.
Samaria isn’t so much morally ambiguous as it is an under-thought formula linking sex, youth, and violence.
It’s one of the rare film noirs where the visual panache almost matches the stoolie loquaciousness.
Kristian Levring’s follow-up to The King Is Alive again exploits the device of strangers in a strange land.
Anders Thomas Jensen’s film is deceptively simple and wickedly funny.
Think of Jean-Jacques Annaud’s picture as the earnest antidote to Shrek 2’s calculated cynicism.