Arrow’s release gives viewers the opportunity to experience the original cut of Kelly’s freewheeling satire for the first time.
Knockdown reduces the American film noir to its singularly least appealing characteristic: macho self-pity.
What happens when the worst tendencies of a poor screenplay are exaggerated by labored and unimaginative direction?
This intertwined tale of people struggling on society’s fringe plays like bad community theater.
It won’t convince Crank: High Voltage’s naysayers, but for those on the film’s insane wavelength, it’s a worthy DVD package.
The film is a pure narcotized rush of blistering action, odious stereotypes, and shock-for-shock’s-sake nastiness.
Teen horniness is not a crime but Southland Tales is.
If Donnie Darko was Richard Kelly’s Eraserhead, then maybe Southland Tales is his Dune.
It was inevitable that after two consecutive strong outings, Lost would backslide into more familiar and frustrating territory.
David Mamet’s macho prose pares down the world to blowjobs, power, and God.
Hans Petter Moland’s humanistic story about xenophobia, man’s persevering spirit, and life’s bitter ironies only stumbles during its final act.
This high profile “sequel” to the 2002 horror anthology Three compiles shorts by Fruit Chan, Park Chan-wook, and Takashi Miike.