Regarding national cinemas, each section skews heavily toward filmmakers from either Europe or the United States.
A major moment of transition between David Cronenberg’s exploitative body-horror movies and his probing psychological masterworks.
This agelessness of David Cronenberg’s films springs from an uncommon authorial focus.
The novel suggests a print fusion of the filmmaker’s early, grungy, bluntly metaphorical work with the subtler, formally refined, classical elder-statesman films of his most recent period.
For these family units, incest seems the natural endgame of a merit system based on pernicious nepotism and inveterate ass-kissing.
Criterion honors Cronenberg’s exhilaratingly cynical film with a bold new transfer that hints at previously unseen new emotional dimensions.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
It’s as much a parody of the new horror breed as it is of the 1950s monster flicks.
As far as high concepts go, it’s a great one.
The most recent Jean Rollin films to make their Blu-ray debut from Kino and Redemption Films mark a significant departure for the filmmaker.
This re-release of Croneberg’s ecstatic masterpiece is cause for celebration. Mugwump jism can’t be beat.
In terms of demographics, Dario Argento is clearly intended as a text for both newcomers and knowledgeable fans alike.
The stage bred many of 2012’s finest film adaptations.
A paltry offering of bad-looking archival interviews is, sadly, all Echo Bridge shelled out for.
Check out which films feel shy of making our list of the greatest films of the 1990s.
Does Looper have a prayer in the Visual Effects race, where tigers and hobbits and Avengers will be sprinting, neck-in-neck?
Chaw, of course, isn’t reluctant to bring up problematic aspects of the film, and Steve De Jarnatt responds frankly, with nostalgia tinged by regret.