The anti-climactic climax, though, rescues the film from obnoxious whimsicality.
Its distanced approached to the Holocaust makes it every bit as problematic as Roberto Benigni’s feel-good comedy Life is Beautiful.
La Ultima Rumba de Papa Montero uses rumba beats and Afro-Cuban lore to tell the story of one of Cuba’s great rumberos.
Think of Claire Denis’s petite masterpiece as In the Mood for Love by way of Chantal Akerman.
Mad props for Meat Loaf getting blown to pieces.
Though not quite as callous as Bless the Child and Stigmata, Gore Verbinski’s anti-art film has been similarly put together with attention-deficit disorder.
This life-affirming comedy actually contemplates our freedom from the machine.
The pitch meeting must have gone something like this.
White Oleander is the funniest film since I Am Sam.
Curiously, submission suits Madonna well.
While Blind Spot makes for a remarkable video exclusive, Traudl Junge’s anecdotes overwhelm her feelings of guilt and desperation.
Below turns out to be a water-logged version of every haunted house film you’ve ever seen.
Jennifer Dworkin assembles her film with great articulation and a human compassion worthy of Frederick Wiseman.
The Transporter is little more than a cheap knock-off of John Woo’s The Killer.
Bertrand Tavernier’s explores love and intrigue at the Continental studio with engaging workmanlike precision.
The tagline for Tom Tykwer’s latest could easily read “Krzysztof Kieślowski Rises!”
Waiting for Happiness is an elegiac portrait of a transit city on the West African coast struggling against foreign influences.
The film’s landscapes evoke the demystifying horrors of the war.
The French went crazy for it, if only because Michel Moore makes it entirely too easy for the world to laugh at America's troubles with the gun.
Turning Gate is built on a series of repetitions that mirror Hong San-soo’s fascination with reincarnation.
Divine Intervention is very clear about the conflict in the Middle East being one big farce.