The film is a celebration of people’s desire for everything that’s beautiful and fleeting in life.
Alice Winocour’s film is a largely pragmatic ode to Paris’s resilience in the post-Bataclan era.
Pacifiction uses its thin narrative elements as a pretense to explore the texture of uncertainty, suspicion, and inaction.
Twisting the Knife collects four taut late-period exercises in ambiguity from the great Claude Chabrol.
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.
Perhaps the defining performance of Isabelle Huppert’s career is now on vibrant display in this Criterion Blu-ray.
The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.
Special Forces was clearly made with good intentions, but it often resorts to Tony Scott-grade aesthetic hyperkinesia.
The film pits irresponsible passion and outer destruction against stultifying “maturity” and inner destruction.
This set is a nice way to get reacquainted with the director’s distinctive atmosphere of bemused terror.
Intimate Enemies dully critiques the international war on terror via the Algerian war.
All you need to know about Claude Chabrol’s new film is in its title.
It’s a gripping lark that finds Claude Chabrol lithely sorting through the serpentine snarl of bourgie behavior.
After last year’s delectable Merci Pour Le Chocolat, The Flower of Evil must count as a disappointment.
Michael Haneke’s latest torture mechanism is less funny game than daunting debasement ritual.