The Incomer is about being isolated for so long that you forget how to want things.
Roberto Benigni’s take on Carlo Collodi’s classic fairy tale “Pinocchio” bears an unlikely resemblance to Fellini’s more grotesque carnivalesques.
If not the best film ever made about mental disorder, Spider is certainly the most painstaking.
Imagine a Tony Hawk skating video interspliced with footage from Behind Enemy Lines and set to Jersey shore techno.
Wait for Eight Crazy Nights to be released as a rental and watch it without shame in the privacy of your own home.
Only in its final surprising shots does Rabbit-Proof Fence find the authority it’s looking for.
Disney’s Treasure Planet may be the company’s least cloying cartoon in years.
From the folks that brought you bad lounge music, the rack focus and the social faux pas comes Love Liza.
One would think that Nicolas Cage has enough money in the bank to buy a screenplay at least half as good as Bringing Out the Dead.
Soderbergh takes Full Frontal into the stratosphere with this prolonged grief-counseling session with a minimalist sci-fi backdrop.
Phillip Noyce’s The Quiet American is a stirring account of colonialism in matters of the heart.
How will James Bond now reconcile that he’s become a parody of a parody of a parody?
Abel Ferrara is at once a stirring realist and a remarkable formalist.
Friday After Next makes for a not-completely-unbearable way to spend an hour and 25 minutes.
Polanski catalogs a man’s tragic march to freedom with an elegant absurdism.
The calculated vigor and brutalism should appeal to anyone who hates reading subtitles.
The documentary is a sad celebration of the endurance of the creative process.
They refreshingly derives its jolts from the fears that haunted us as children.
So this is what a rhetorical question looks like on the big screen.
Equilibrium is likely to appeal only to the sci-fi fanboy who thinks “Carmina Burana” is the greatest of techno songs.
Kippers for breakfast, Aunt Helga? Is it St. Swithen’s Day already?