The Japanese auteur’s latest shows nothing more clearly than its untapped potential.
In The Sum of All Fears, Evil is fond of anecdotes and opera music, speaks with ghoulish inflections, and consumes only luxury food products.
Christopher Nolan knows a good ice field when he sees one.
Notorious C.H.O. is Margaret Cho’s very bawdy vagina monologue.
El Bruto is relatively apolitical but that’s because Luis Buñuel is drunk on animal magnetism.
The film feeds on the imagination of children and relishes the joy they find in creation.
Spirit: Stallion of the Cimarron is possibly the most disturbing animated film ever made.
Green Dragon feels strangely akin to a gushy episode of M*A*S*H, only this time from an Asian perspective.
The film’s quirky, surreal mise-en-scène meshes poorly with the curiously unfunny yet not necessarily terrible deadpan humor.
Luis Buñuel’s jabs at society’s oppression of women are limp only by his standards.
The drama has been seemingly extracted from all sorts of domestic abuse manuals and pamphlets and the result is strangely akin to a Lifetime see-Jane-run procedural.
While the melodrama is certainly potent, Susana lacks considerable bite.
Is Will or Marcus the film’s titular boy? Such nuance.
The latest toy from George Lucas’s soulless Star Wars factory is at least better than The Phantom Menace.
If you think Elvis, Tupac, and Biggy Smalls are still alive, you’re likely to swoon over Alan Taylor’s trivial piece of historical revisionism.
It Came From Outer Space remains the granddaddy of the ’50s atomic-scare pictures.
Silent Running definitely shows its age.
Los Olvidados is a film obsessed with the terror of being left alone in the world.
If you love ’80s relics, none come more gorgeously artificial than Ridley Scott’s faerie-tale Legend.
Now that women are cheating on Richard Gere, a door has opened for a fresher Mr. Goodbar.
More nostalgic than realistic, Deuces Wild paints an unimaginative portrait of macho bullshit.