There’s a lived-in quality to Promised Sky that’s evident from its opening scene.
Been there, done that.
The mundane but nonetheless competent Tristana may be the perfect entry point for the Luis Buñuel novice.
Like Luis Buñuel after him, Sergei Eisenstein was too anarchistic for the Hollywood studio system to tame.
Wes Craven’s infamous schlocker was an exercise in pop culture-crashing perversity.
Buñuel wondrously conveys how the patriarchal rule of the film’s real world spills into the fantasy world Séverine creates for herself.
The film is Buñuel’s most realist expression of his life-long fixation with ribbing bourgeois orders.
Ridley Scott’s camera merely exaggerates what an overly mannered but impressive Nicolas Cage evokes just fine on his own.
Luis Buñuel likens the house on Calle de la Providencia to a sunken ship and the story’s elite to helpless prisoners.
Style does not trump substance in Johnnie To’s PTU because the style is the substance.
it’s very easy to imagine a better film with James St. James in the lead and Michael Alig in his periphery.
Like the club-kid docu-drama Kids before it, Thirteen is a very real depiction of what life is like for a small faction of America’s teenagers.
Kon’s love for his animated diva is supreme and he plays her romantic saga for delirious world-weary sorrow.
Every image in the film is so full of love that Jim Sheridan earns the right to lay on the fairy-tale gravitas thick.
The film is a fascinating but strange document of the trickle-down effects of power.
There’s potential here for potent Hollywood ribbing, but Dickie Roberts mostly plays like an E! True Hollywood Story.
Émile Gaudreault’s comedy could have just as easily been called My Big Fat Gay Italian Wedding.
The animators and painters evoke an expressionistic netherworld influenced by numerous Gothic, Persian and Medieval sources.
The many melodramas experienced on the set of the film would set the stage for much of Fassbinder’s Beware of a Holy Whore.
The film finds Clint Eastwood reaching a peak in the fields of both film direction and acting.
Clint Eastwood’s dust bowl drama is a sensitive road picture about a mostly luckless aspiring country music singer.