Bardo signals that Alejandro G. Iñárritu, perhaps, is unable to push the limits of his own artistic expression.
Iñárritu’s sprawling, kinetic debut feature gets a solid HD transfer and a generous heaping of varied extras.
An Oscar for Alejandro González Iñárritu is a reward for the return on the industry’s investment.
What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur.
In what’s become an annual tradition, last weekend’s Writers Guild Awards weren’t much of a trial heat for the Oscars.
Even as Boyhood steamrolled the critics groups, even as it dominated the Golden Globes, we had our doubts about its frontrunner status here and in best picture.
The film's Hollywood skewering is constantly spoon-feed to us like strained bananas.
Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
Is Fernando Meirelles out of touch, or is he a savvy resurrectionist with fresh tricks up his sleeve?
Unlike the dire Red Riding Trilogy, Dreileben occurs in vertical rather than horizontal time.
A strong presentation of a film that could prove to be key in the evolution of a potentially major talent.
Do we even need to talk about Dogtooth’s chances?
With Biutiful, Alejandro González Iñárritu proves that he hasn’t lost his appetite for overstatement.
The Town is a fatuous star vehicle that leaves little doubt about who gets the most soulful close-ups.
The festival ended with its longest competition title, and it wasn’t even a complete film.
Why does the sadness-tinged optimism of one of these films stay with me like a benediction?
Alright, the first column seems to have gone fairly well. An observation though: not enough conflict. We’re in agreement on far too much.
Though less histrionic than 21 Grams, Babel rests on the laurels of wafer-thin approximations of real people.
The film’s disjointed structure seemingly exists for no other reason than to make an entertainment out of its characters’ miseries.
This pumped telenovela is very much the film Kieślowski would have made had he followed Buñuel’s lead and voyaged to Mexico.