Van Sant’s 1995 satirical black comedy receives a gorgeous video transfer from Criterion.
Van Sant discusses the long road in bringing late cartoonist John Callahan’s life to the screen.
Gus Van Sant’s film is admirably unsexy, and a testament to the comedic potential of going sober.
There’s little here to suggest that the film is anything more than a hastily cobbled-together studio star vehicle.
A daring work in New Queer Cinema, featuring River Phoenix’s greatest performance, receives a subtle yet important visual facelift.
The first and by no means last example of The Sea of Trees’s egregious literalism appears even before the film has properly begun.
Ukraine Is Not a Brothel ultimately exists in a representational space similar to the rad-fem tactics of Daisies or, even, Spring Breakers.
Paul Schrader and Bret Easton Ellis don’t have the sense of play this kind of narrative of one-upmanship requires, as we’re never allowed to enjoy the characters’ misdeeds.
What Woody Allen is to New York, Gus Van Sant is to Portland.
Essential viewing, if not only for its edutainment factor, but for the dynamism and felt resonance of its maker’s bounding enthusiasms.
Promised Land evinces a pleasing but self-consciously torpid sense of the everyday.
Check out which films feel shy of making our list of the greatest films of the 1990s.
The festival provides no real leitmotif or focus, leaving plenty of room for personal interpretation, and sometimes wonder.
Entertainers focused on their own sense of self, such as performance artist Brother Theodore and filmmaker/actor Crispin Glover, are wonderfully loopy stunt interviews.
It has all the strong markings of a Van Sant movie and Lionsgate shows the film requisite care on its Blu-ray transfer.
Gus Van Sant’s cinema takes a detour into excruciating quirkland with Restless.
Restless mostly suggests a fuzzy remake of Four Nights of a Dreamer starring the cast of Twilight.
Andy Warhol’s documentary is in absolute lockstep with the textures of its soundtrack.
The film may make you wonder how much Gus Van Sant was thinking about Vagabond when he made Last Days.
Dear AMPAS directors’ branch, we’re done now.