A tangle of violent, symbolic gestures that regards economic exploitation with fetishistic, impossibly overdetermined abandon.
The film never reaches a climax because it’s always in one, distilling the lives of its characters to their tensest moments.
Get your motors running. Death moves at 24 frames per second.
borderline-mindboggling extent, Girl in Progress actively discourages thought.
What emerges most saliently from Mintzer’s interviews is Gray’s commitment to the idea of problem solution in creating his style.
Nicolas Cage’s performance is some kind of tour de force.
George Cukor would have made us side with Eva Mendes and exposed Meg Ryan’s blather for what it is: over-privileged white noise.
Ridley Scott and Steve Zaillian seem determined to snuff out bright patches before they can catch fire.
Gray dramatizes the demoralizing sort of physical and psychic helplessness that was one of Hitchcock’s lifelong themes.