Mike White’s series remains TV’s most intriguing and precise murder mystery-cum-social satire.
The film is initially distinguished by its poetic understatement, only for it to eventually succumb to staleness.
The film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lens of the ruling class.
Its few nutty ideas demonstrate how little distance Unpregnant manages to put between itself and a standard high-school comedy.
Kogonada’s elegant and moving narrative debut has been outfitted with a lovely transfer that will hopefully expose the film to new audiences.
The film genuinely grapples with the question of how to live one’s life when death is always potentially just around the corner.
The film never manages to reconcile the enormity of the Holocaust with how ordinary a bureaucrat Eichmann was.
The film celebrates the unrecognized willpower and perseverance that undergirds low-wage service work in this country.
The seeming miracle of Columbus is its mixture of formal precision with a philosophical grasp of human mystery.
The finest American teen film in at least a generation, The Edge of Seventeen arrives on home video ripe for discovery as a new cult classic.
Split is personal and outlandish, with riveting plotting, somber storytelling, and elegant construction.
The smartest thing about Kelly Fremon Craig’s teen dramedy is its measured take on its protagonist’s theatrics.
The prevailing attitude behind Bryan Buckley’s film can be boiled down to a simplistic idea: the cruder, the better.
Another effort to explain how difficult it is to be a young, white, smart, non-disfigured, upper-middle-class male.
This is my alphabetically arranged list of what I think are world-historically worthwhile films produced after 1986, the year of my birth.
I’ll sidestep the usual throat-clearing about the thought process behind my all-time 10-best-movies list.
The following list is no doubt a statement about how I approach life.
For many years, I maintained a Top 10 list. It was changing all the time, but by the mid-1980s, I had pretty well nailed it down.
If you read my “Understanding Screenwriting” column at The House, you may be aware that I generally do not do Top 10 lists.