A riot of heavy glances and portentous imagery, a near constant chorus of brooding strings and, in its latter, terminal stages, an excruciating program of narrative elongation that verges on the absurd.
Linklater’s two films move us towards a new understanding of the genre of romantic films.
After the dreary imitativeness of Undead, the Spierig brothers find themselves once again on derivative ground with Daybreakers.
Staten Island has the stench of meat left on the counter for too long.
Abel Ferrara’s heart is in the right place, but his mind is somewhere else.
For a project that aims to be so location specific, most of the segments seem largely isolated from their nominal settings.
The film is very lively, somewhat thrown together in that loose yet aggressively visceral Abel Ferrara style.
Even as the Oscar push for Revolutionary Road remains in full swing, Sam Mendes returns to his theater roots with his latest production of The Cherry Orchard.
The film never musters the requisite momentum or intrigue to separate itself from the burgeoning Boston-crime-saga pack.
The last third’s attempt to frame the drama as King Lear-level tragedy plays as an unnecessary reach.
There’s not much new here, aside from Lumet’s enthusiasm and simple craft.
The Hottest State is thoroughly infused with its creator’s pretentious indie-bohemian persona.
Richard Linklater does an admirable job of shoehorning in as much of the sprawling nonfiction narrative as he can.
The film is little more than a CBS Sunday night movie that peddles inspirational fairy-tale schmaltz and middling humor by the coffin-full.
Andrew Niccol’s Lord of War is little more than an ammunition-littered variation on Blow.
It’s determined to seal off such perceived gaps while trading John Carpenter’s precision for conservative blandness.
Nothing special in the extras department but Before Sunset is a film that truly speaks for itself.
Four not-so-probing documentaries highlight this Taking Lives DVD, which should appeal only to fans of Angelina Jolie’s boobies.
Its beauty and grace is its unparalleled ability to capture the idiosyncratic rhythm and cadence of everyday dialogue.
This umpteenth serial killer procedural opens with a prologue fully acclimated to the motifs of its inspiration.