The film deals forthrightly with the question of purpose and whether it can be found in a career.
The sledgehammer preachiness of Mark Pellington’s Nostalgia almost scans as a failed hipster joke.
It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
Throughout 127 Hours, Danny Boyle’s artistry capitalizes on his audience’s attention-deficit disorders.
The tortuous legacy of Jack Kerouac continues to trip up even the hippest and least glib of Neo-Beats.
For his remake of Beyond a Reasonable Doubt, Peter Hyams ratchets up the sleek car-commercial flashiness.
The fantasyland-set script has a habit of wrapping up serious situations through flippantly easy shortcuts.
Hilary Brougher’s second feature film wants to shatter stereotypes about baby killing.
There’s a deceptive layer of questioning in Brougher’s POV that always keeps the viewer alert.
Thanks to Scary Movie 4 it’s impossible to look at a Grudge film as anything other than a parody of itself.
Rage continues to spread like a virus throughout Japan (and now overseas to America) in The Grudge 2.
The film’s positive portrait of teenage femininity is honest and mature.
The film’s acknowledgement that growing up often requires coming to terms with loss results in a mature, untidy view of adolescence.
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.