There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
Hey, Happy! is the gayest, grooviest sci-fi flick since The Man Who Fell To Earth.
The film is a rollicking paean to the Hollywood and Bollywood musicals of yesteryear.
Time Out is a riveting account of a lone warrior carving out a personal niche for himself in an otherwise onerous landscape.
The film was a match made in hell and a dream realized for many horror fans.
Black Hawk Down may substitute for a rip-roaring, jingoistic ad for the Army.
Eisenstein lacks considerable brio for a film about one of cinema’s directorial giants.
However short Wendigo may be on bloodworks, director Larry Fessenden is an expert mood-setter.
We chatted with the star and director of Piñero about its making and the tragedy of the real-life Piñero’s life.
You know the drill: This year was or wasn’t the best thing to happen to cinema since Thomas Alva Edison.
Parents will yawn and crack a smile here and there while the six-and-under crowd might actually stay in their seats.
The Majestic is Frank Darabont’s pure-hearted Capra riff, efficient retro-Hollywood cheese where the good guy wins
Lasse Hallström’s rendering of place and time is quaint and evocative even if the film, as a whole, moves at the speed of a glacial ice flow.
Joe Nobody becomes Joe Somebody after he gives it to the man.
A film is always in trouble when it has more screenwriters than cast members.
Peter Jackson emphasizes the territorial nature of J.R.R. Tolkien’s Middle-earth by fascinatingly playing with lines of division.
The film’s lackadaisical view of market research suggests truth lies in public acceptance.
However narratively slipshod, Piñero has passion to burn.
This is the most deadpan piece of pop art this side of The Simpsons.
The visual effects fantastically morph the film’s frescos into illusory gateways into Anna’s subconscious.
Needlessly convoluted, yes, but batty sometimes in a good way: