The film renders Dalí’s final years with a self-negating blend of pity and devotion.
These films feel like the works of someone who had yet to truly find their own voice.
The film rarely articulates the book’s ideas with any real sense of the outside world without resorting to easy exaggerations.
The film unfortunately sidelines the chemistry between its stars once it’s time for the characters to bypass one obstacle after another.
The trilogy is accorded a series of breathtakingly, resonantly gorgeous transfers by Criterion.
Now this 15-hour-plus epic runs at 25fps, as per the original German TV broadcast.
Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
Nearly every line of dialogue in Maria Schrader’s film explicitly comments on a larger matter of global diplomacy.
The film’s most striking quality, and it’s not insignificant, is director Margarethe von Trotta’s refusal to fossilize the controversies she dramatizes.
Margarethe von Trotta is mostly interested in moving the story along than pausing for effect.
In Antichrist, there’s no anchor to the cataract of malevolent images other than Lars von Trier’s own crawling neuroses.
The future Dogme 95 king’s last work of crafty artifice: less than meets the eye.
Europa’s total effect is one of prettified, hollowed-out Kafka.
The film is like an ocean: vast and deep, for sure, but also internally turbulent, its tides ebbing and flowing, constantly lapping against its barely-there borders.
Is it a dream that two of cinema’s holiest of grails arrive on Region 1 DVD on the same day? If so, don’t wake me up.
The characters in John Turturro’s directorial efforts have a yen for treating choleric fits like arias.
To his credit, Rainer Werner Fassbinder’s highly problematic directorial intentions don’t emerge from the literal nowhere.