The Incomer is about being isolated for so long that you forget how to want things.
Christopher Plummer, Jim Broadbent, and Tom Courtenay have a blast playing the film’s Dickensian horrors for laughs.
In this much-ado-about-nothing procedural, Juan Carlos Fresnadillo reduces his characters to pawns lost in a Greek labyrinth.
This is The Eminem Show, told by Eminem for the Eminem fan.
Rising Place has flavor to burn but still feels as if its choking on crawfish.
The film’s money shot is audacious yet tender, recalling a more notorious sequence from Viridiana.
The film is a work of pure aesthetic rapture whose camera movements are the stuff of dreams.
The Nightmare Before Christmas and Willie Wonka and the Chocolate Factory have more life and cheer in any given shot than the whole of this film.
The film is assembled unrealistically, so much so that the pat denouement becomes inevitable.
Well-made for a low-budget first feature, the film suffers from an overall slightness.
The Weight of Water comes to resemble the kind of softcore twaddle you’d expect to see on Showtime’s Red Shoe Diaries.
I Spy is a nostalgia-free shit job that features what could be Eddie Murphy’s shrillest performance to date.
Let’s face it: it takes major cojones to stick a firecracker in your ass and take a dump in a hardware store’s display toilet.
Though Frida is easier to swallow than Julie Taymor’s preposterous Titus, the eye candy here lacks considerable brio.
The film feels not unlike a moving postcard sent by a group of friends having the most incredible European adventure of their lives.
Think of Roger Dodger as a less mean-spirited version of Your Friends and Neighbors.
Not only is Ghost Ship graceless and scare-less, it also makes absolutely no sense.
It’s the film’s delicate and open-ended finale that lingers in the mind.
A literally eye-popping experience, and worth experiencing for its infamous tarantula sequence alone.
This nasty, what-if yarn most memorable for Gregory Peck’s ludicrous performance as Dr. Josef Mengele.
This week’s Angel Eyes Much Ado About Nothing Award goes to Stephen Gaghan’s feature film debut.