The Crime Is Mine draws on the same giddily rules-trampling pre-war mood as Chicago.
EO feels freed of plot, free of expectation, driven only by the need to honor its own internal, poetic drive.
Twisting the Knife collects four taut late-period exercises in ambiguity from the great Claude Chabrol.
Mama Weed is intended to wash over you, leaving good vibes in its wake, but it doesn’t challenge Isabelle Huppert or the audience.
Only Marisa Tomei’s face can compete with Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
Jordan’s deft control of pace and tone elevates the film past mere gimmickry.
The actress discusses the film’s vacillations in tone and how she finds her characters.
Hong Sang-soo’s Claire’s Camera is governed by a narrative circle that suggests relief as well as entrapment.
Isabelle Huppert’s presence feels too colossal for such a small and cheesy film as this.
It reveals itself as vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff.
Writer-director Anne Fontaine bypasses any attempt at faithfulness to her source material.
Perhaps the defining performance of Isabelle Huppert’s career is now on vibrant display in this Criterion Blu-ray.
The film’s segregated world hints at a town’s (and country’s) racial tensions without actually examining them.
It was a shame that no special anniversary prize was created and bestowed on The Wandering Soap Opera.
The film is a trim farce with no blood flowing under its skin, as it’s all construction, setup, and payoff.
Claire’s Camera is one of Hong’s most formally intuitive and sharply written films in some time.
Happy End is an empathetic portrait of personal grief as it’s experienced in a desensitized first-world society.
Confrontational and often corrosively funny, Elle gets a suitably subdued transfer from Sony Home Entertainment.
To those who’ve been relishing the shade Eric has been throwing at La La Land, I apologize, because I will not be taking Emma Stone to the library today.
Tsukamoto said that the driving influence of his breakout ’90s genre work was the concrete labyrinth of Tokyo.