Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
The Promise simply turns this historical tragedy into mere background noise for a flimsy romantic triangle.
In its stripped-down realism and blistering fixation on its main character’s grappling with life and mortality, the film is kin to Roberto Rossellini’s collaborations with Ingrid Bergman.
James Gray has been working toward The Immigrant for his entire career.
American Animal, like The Color Wheel, is the product of a generation that’s probably seen more movies than any other.
The film exudes the confidence of an artist willing to risk driving its audience up a wall in order to realize a defiantly unique personal vision.
This intertwined tale of people struggling on society’s fringe plays like bad community theater.
Scott Prendergast’s understanding of the body as image and form of branding enriches Kabluey with a striking ambiguity.