This relentlessly cruel rejiggering makes every Evil Dead film before seem like Sunday school.
Ramiro is Luis Buñuel’s most sympathetic rich man in that he’s humble despite the size of his wallet.
The times are perfect for a quirky, carpe diem movie like Life Or Something Like It.
You’re young and you want to get high but you don’t have money for weed or smack. What do you do?
Welcome to the Crystal Lake Research Facility, a doomsday machine waiting to happen.
Finally, American Pie for adults.
The pitch must have read like a discarded House Beautiful spread.
If the Marquis de Sade had lived anytime during the 20th century, perhaps he would have made a film like L’Age d’Or.
Looking at Buñuel’s autobiography and Dali’s verbal art is to confirm that many of the film’s images were a product of a shared consciousness.
Here’s something pointless but kind of fun nonetheless.
Circuit queens won’t learn a thing because they’ll be too busy cursing the film’s strategically placed white sheets.
Forget the misleading title, what’s with the unexplained baboon cameo? How about all the “kiss already” gay subtext?
Javier Corcuera allows the pervasive poverty of the film’s Texans and the downtrodden minority faces to subtly indict the heartlessness and racism of America’s judicial system.
Fatal Attraction is still notable for Glenn Close’s resilient, complex performance.
It’s all about Alan Arkin and his all-too-real take on jealousy in the workplace.
Oh, if Scarlett O’Hara had only known the words to “Ghanan Ghanan.”
L’Avventura, the first movement in Antonioni’s great tetralogy, remains the most haunting representation of the ennui of modern life.
World Traveler is set up as a kind of paradigm of consciousness ethereally obsessed with a man’s physical beauty.
Nicole Burdette’s screenplay is less concerned with engaging the spirits of the past than it is with, well, blowing hot air.
The Sweetest Thing is just downright asinine.
By film’s end, Changing Lanes questions the effects of individual morality on a collective consciousness.