On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
One could say Shimizu Takashi begrudges historical perspective in favor of pandering to a hip audience’s short-attention spans.
As idiotic as it is immature, Soul Plane’s infatuation with playa culture will likely have most reaching for the barf bag.
The film sets out to accomplish an ambitious goal: to resurrect Bukowski’s memory and to elevate his reputation to the level of Wordsworth.
For such a gonzo experiment, Gozu is surprisingly linear and only intermittingly funny.
Throughout, director Ferzan Ozpetek works overtime to parallel the forbidden love of the past with that of the present.
The film is too beholden to action-movie requirements to successfully wrap its head around general geopolitical issues.
Like most great westerns, Dead Man holds the American West and its (white) inhabitants up to close scrutiny.
Royal Engagement is the prim and proper cousin to its comparatively anarchic predecessor.
Renny Harlin’s lemon does its damndest to heap more dirt on the franchise’s grave.
The film isn’t so much an avowal of religious dogma as it is a deeply humanistic proclamation of the power of faith.
To gauge the suffocating allure of Platform, imagine if the protagonist from A Man Escaped never made it out of his Gestapo hell.
This is a documentary that can tell the sometimes bitter truth and still conclude with an unambiguously heartening flourish.
Control Room, an engrossing behind-the-scenes look at the Al-Jazeera Arab television network, is an easy film to overpraise.
We recently spoke with the writer-director about the rocky dramas that continue to resurface in his films.
Sergio Leone’s cinema, now fully embraced by cinephiles and fanboys alike, is practically a genre unto itself.
Wolfgang Peterson’s sturdy film is largely faithful in recreating the basic elements of Homer’s cumbersome narrative.
The film suggests a life boiled down to hunter and hunted, with hasty negotiations and clever fake-outs.
Peter Chelsom’s Shall We Dance? may be the most polite seven-year-itch comedy ever made.
Darkness is yet another sign that horror films are going the way of Darkness Falls.
The film is primarily founded on the premise that there’s nothing funnier than dialogue strewn with ludicrously illogical lines.