This isn’t just an anti-superhero superhero film, but something akin to an anti-film.
To paraphrase the Sex Pistols, the title character of Anaïs In Love doesn’t know what she wants, but she knows how to get it.
Coma cultivates gallows humor about the state of things—or rather, the stasis of things.
Incredible But True Review: A Tale of Vanity and Madness Forged on Creative Autopilot
Incredible But True endlessly draws out every stilted interaction for maximum deadpan effect.
Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism.
The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
It finds its filmmaker lost between impulses to pay homage, play it safe, or offer something—anything—new.
Director François Ozon is never willing to fully engage with the ridiculousness of his material, resulting in an uneasy mix of wry distance and unearned emotion.
Pascale Ferran’s film isn’t daring enough to fully embrace the narrative fragmentation that it sporadically assumes.
With its broad performances, rapid-fire pacing, and rampant visual and verbal gags, Bernard Tavernier’s first out-and-out comedy doesn’t try too hard to hide its graphic-novel origins.
Claude Miller’s swan song not only shares its main character’s name but also her tempered disposition.
The film’s views on sexuality aren’t always as progressive as they might seem.
The problem with Be Good is one that it shares with other, similarly ambiguous character studies about people with hidden pasts.
What this dreamy tour of the French and Spanish countryside more accurately represents is the most attractively shot twin porn off all time.