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.
Get this: In Memento, Christopher Nolan tells his story backward!
To think that there are people in America will take the film’s rank sentimentality as an act of humanitarianism.
The Shooting pays obvious homage to the classic westerns of John Ford and Howard Hawks.
Woody Allen has grown up a lot since Take the Money and Run and it shows.
The film’s simple truths about the nature of family and friendship will give young children something to chew on.
The whole of the film is less than the sum of its parts, but the parts are often breathtakingly shot.
The film is as much a relevant view of adolescence and male/female relations as it is an act of remembrance.
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.