The film is eventually caught up in the very pomp and splendor that it initially lampoons.
If this is America, then Norman Rockwell is turning in his grave.
Despite some remarkable musical pastiches and riveting set pieces, this postmodern wank-job doesn’t have much of a heart.
Luis Mandoki’s Angel Eyes could pass for a lost M. Night Shyamalan film.
Is it possible for a production company to crank out a cartoon fable without having it whitewashed with Disney’s fairy-tale idiom?
The film is fraught with all sorts of erotic displacements and rituals of denial.
The film is cheekily fascinated by the murderous nature that seethes beneath even the most tranquil individuals.
Not surprisingly, the film’s most effective scene is also its least pretentious.
The film is a ravishing evocation of a unconsummated romantic relationship put through an emotional and cultural ringer.
This pumped telenovela is very much the film Kieślowski would have made had he followed Buñuel’s lead and voyaged to Mexico.
Widely regarded as Ousmane Sembène’s finest achievement, Xala is a cutting morality tale.
Cameron Crowe proves that self-absorption isn’t a generational thing.
Despite a suspenseful jolt or two, this cornball Hitchcock riff is anything but subtle.
The Whip and the Body is at once frightening and hysterical, a gothic rendition of a D.H. Lawrence tale.
The overall effect is like opening a present on Christmas morning.
Its brilliance emanates equally from its structure, the acuteness of its gaze, and Edward Yang’s acknowledgement of life as a series of alternately humdrum and catastrophic occurrences.
This is Kenneth Lonergan’s trip down a familiar road where lives will forever be emotionally and inextricably bound.
In American Psycho, there is an exit—it’s just called the future.
Galoup is merely a rotten byproduct of a dehumanizing military apparatus, but by film’s end he finally learns to let out some steam.
Its secrets unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts.
Released at the pinnacle of his prolific Mexican period, Él remains one of Luis Buñuel’s crowning achievements.