The sequel to Steve Gordon’s Arthur wears its intentions on its sleeve.
Imitations, bastardizations, and endless co-opting of its surface style can’t dilute the supremely bitter rinse of Cabaret’s horrors.
Pakula’s directorial debut takes a done-to-death story template and revitalizes it with intelligence, maturity, and tenderness.
Witches, wives, and even Whoopi made this list of women who sport only the darkest uniforms.
Can somebody give me another cappuccino, puh-lease?
Dzi Croquettes reclaims the eponymous avant-garde theater group as major figures in Brazil’s history of state terrorism and artistic resistance.
With its mythic production long in the past, Lucky Lady now stands as a highly enjoyable, underappreciated adventure film.
King would say the extras on this release are meant to stir one’s juices, but I say they have been designed to diminish brain cells.
There’s a gravity to everything Ingrid Bergman says in this movie, and she has a grandeur that seems to come naturally, a statuesque hauteur.
If Sex and the City 2 is even less significant than its predecessor, it’s because it runs on one less interesting storyline.
Natasha Richardson, certainly not a singer at the level of Liza Minnelli, was faced with numerous challenges when starting to work on this role.
A colorful portrait of an enduring marriage gets the star treatment on DVD.
Chris & Don achieves the kind of rare grace that earns its subtitle as a true love story.
Zellweger’s generic, front-page-ready, girl-next-door smile is outshone by the desperation in Minnelli’s eyes when Sally sings.
Its only crippling flaw is that it was made when Kim Carnes was around to rasp through the closing credits.
That’s Dancing! understands that dance on film is all about the sexy things the human body can do.
The whole thing has the dreary feeling of a bottom-of-the-barrel, clammy ’70s sex comedy.
Rich people have money. Aside from that, they’re basically just like you and me, and nothing quite compares to watching them perform painfully ordinary tasks.