This is one Criterion’s most stacked one-disc Blu-ray releases of the year.
The global lack of knowledge that’s resulted from Turkey’s denial campaign is more amnesia than ignorance.
Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
The film has the plot of an intensely lurid thriller, but Atom Egoyan can’t bring himself to face that and actively tend to the story.
The Captive plays like the overeager idiot brother to Egoyan’s superior The Sweet Hereafter.
Atom Egoyan’s hypocritical prestige-movie skittishness is more offensive than ordinary sensationalism.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
It fails to ask compelling questions that would merit the relevance of a fictional film about the subject in 2013.
It’s knitted together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.
The latest film by Jean-Pierre and Luc Dardenne left me speechless.
It Came from Kuchar unfortunately doesn’t delve very deep into the Kuchar brothers as complex human beings.
It Came from Kuchar fully admits to its subjects’ idiosyncrasies, both through interviews with the brothers and testimony from others.
Slant caught up with Egoyan to discuss what he thinks of Sarah Polley stepping behind the camera and the most difficult moment of his filmmaking career.
At least for the film’s first half, Atom Egoyan shows a flair for efficient storytelling.
Interestingly enough, Atom Egoyan provides his own critique of his dizzying, thematically dense whatsit, albeit inadvertently.
Kirby Dick’s documentary is a Molotov cocktail leveled against the Jack Valenti-led MPAA.
Atom Egoyan’s Where the Truth Lies promises more than it finally delivers.