William Oldroyd’s film is a deliciously a pulpy phantasmagoria of fear and desire.
To the film’s credit, Savage imbues the proceedings with a good deal of visual ingenuity.
The film reemphasizes the moral weight and emotional anguish at the heart of Frankenstein.
Criterion’s exacting presentation of Scorsese’s late-inning masterpiece is a testament to the enduring value of physical media.
This supernatural fable elevates the subtext of Bryan Bertino’s earlier work to the level of text.
Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
If Piercing is mildly disappointing, it’s because it doesn’t go far enough.
The film’s refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
Most of the film’s great moments belong in Matthew Porterfield’s traditional observational wheelhouse.
The film’s mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.
Matthew Porterfield’s Sollers Point conveys the limitations of freedom within towns like the one at its center.
The film shows that formula can be repurposed to serve empathetic ends without losing its self-actualizing appeal.
The story wisely focuses on the cast’s worn-in and jazzy repartee and expresses a perfectly modulated sense of self-awareness.
In David Adjmi’s satirical Marie Antoinette, the titular royal doesn’t start using her head until she’s in danger of losing it.
Noah Buschel interestingly mirrors the monotony of his main character’s routine in his claustrophobic aesthetic.
The film is overly indebted to formula, but at its best, it’s an engagingly free-form character study.
At the end you may wonder why you just paid to watch two yuppies bicker when you could’ve seen that at the nearest P.F. Chang’s for free.
The Killing is a mystery show whose mysteries agitate and bore rather than mesmerize and astound.
This is a decent transfer of a lovingly detail-oriented period melodrama, from one of its finest contemporary practitioners.