There’s barely a single scare in this Halloween that isn’t undermined by some forced bit of funniness.
Director David Gordon Green’s Stronger offers up an unassuming portrait of wounded love and solitude.
The film’s understanding of the brittleness that begets the “traditions” of frat culture is altogether shallow.
In the end, it only serves to validate George Clooney’s devotion to showmanship as Hollywood’s current reigning poster boy for blue-state morality.
David Gordon Green stages even fleeting tonal palate cleansers with a self-consciousness that parallels Al Pacino’s acting.
In David Gordon Green’s Manglehorn, Al Pacino turns in his third performance of the last year as a man in the grips of a post-midlife crisis.
Theodore Melfi’s debut feature, St. Vincent, is a heartwarmer that never insults.
David Gordon Green’s Joe is a fascinating, irresolvable mixture of tender, despairing blue-collar pathos, found faces, and genre macho hot air.
Director David Gordon Green finds a balance between symbolism and realism in his storytelling that allows the film to be many things at once.
The new picture quality makes George Washington, David Gordon Green’s first and best film, look as if it came directly from myth.
With his wry latest, David Gordon Green consolidates the bromantic interplay of Pineapple Express and the erstwhile elliptical lyricism of George Washington.
For our third installment of “The Conversations,” we decided to each select a film from the past 10 years that we thought was unfortunately overlooked and/or unfairly maligned.