The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.
Costa-Gavras’s new film is more a funhouse-mirror panegyric (albeit on an exhausted topic) than the staid thriller promised by its press materials.
A crude love story about humans, animals, and the scant qualities separating the two.
If there’s one thing that’s genuinely surprising about Philippe Garrel’s new film it’s the lack of feverish urgency that its title promises.
Bonnello’s haunting, multi-layered visual tour de force gets a mediocre standard-definition release.
Not many films have ever approached the possibilities afforded by the slippery subjectivity of cinematic time so directly.
Almayer’s Folly is a work of engulfing jungles and rivers, vehement and incantatory speeches, and piercing female gazes in front of and behind the camera.