William Brent Bell’s film proves that not every horror concept has the potential to be franchised.
The film is remarkable for capturing a brewing conflict between women while also celebrating their connection.
Bette Gordon’s film proffers the East Coast couple as an inevitably miserable institution without really meaning to.
Where Paul Greengrass’s action sequences were once visceral and intentionally unpleasant, now they just titillate.
John Crowley’s film fails as a critique of draconian security states and surveillance culture.
The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters’ existential or psychological crises.
Generally, these shorts do little to advance their own arguments, but then again, they don’t need to.
Maya Entertainment wants YOU to see It’s a Disaster, a new comedy releasing soon from the indie distributor.
The film works best during its pedal-to-the-metal car chases, which are virtuoso musical numbers of screeching tires and vehicles.
Paul Greengrass’s latest plops on the screen with lots of hi-fi energy but, strangely, very little feeling.
David Mamet’s macho prose pares down the world to blowjobs, power, and God.
This latest unnecessary remake of a minor horror flick lacks even the benefit of novelty.
The film gives new resonance to why the first in a franchise is often dubbed the original.
This predictable but heartwarming comedy plays out like an antidote to films like About Schmidt and Napoleon Dynamite.
Don’t be fooled by The Prince & Me’s questionable marketing campaign.
Mike Newell’s Mona Lisa Smile is a hopeless lesson on how to beat a dead horse.
The Bourne Identity is too Hollywood to ever really sink its teeth into its protagonist’s existential crisis.
This isn’t so much a female take on In the Company of Men as it is a white-collar version of Baise-moi.
Shakespeare’s Othello meets Columbine in this messy little teen drama.