For Stiller, apparently, James Thurber’s classic story is occasion to craft what eventually amounts to a totem to his own vanity.
Marion Cotillard is an icon of suffering in James Gray’s somber passion play.
Gloria is an affectionate, lightly comic, yet unsparing gaze at a middle-aged woman’s day-to-day travails.
There’s no shortage of bastards in this tale about the destructive power of a deeply dysfunctional family.
Rithy Panh’s personal story is always the most compelling and visually arresting.
Like its heroine, Abuse of Weakness wastes no time looking back.
Having built up the tension to a breaking point, Giraudie doesn’t let down the audience.
The more movies he makes, the more Paul Greengrass’s have-it-both-ways m.o. as a filmmaker becomes clearer.
Jim Broadbent and Lindsay Duncan are an ideal fit for Hanif Kureishi’s bitterly funny, yet surprisingly tender script.
Like the folk scene it immerses us in, Inside Llewyn Davis is intrigued by authenticity.
In keeping with its subject, the movie has a rough-hewn quality.
Programmed alongside feted films from Cannes and other international fests is a selection of ambitious Oscar hopefuls.
Most filmgoers who see Lee’s magical-realist marine life, from bioluminescent jellyfish to migrating trout that fly, will be quick to dub the film the Visual Effects frontrunner.
That Flight happily dwells within conventional boundaries can be frustrating given the raw and affecting potential of the material.
Chilean filmmaker Pablo Larraín gives us another take on his country’s dark dance with military dictatorship in No.
Though Ginger & Rosa is arguably Sally Potter’s best work to date, it’s certainly the filmmaker’s most accessible.
Under the mercurial surface lies a sorrowful heart.
There’s no empathy in Haneke’s carefully composed frames, ruthlessly prolonged takes, and generally detached stance.
Bwakaw acknowledges the human spirit’s uncanny power to heal even the most traumatizing wounds.
In some ways, the movie totally subverts expectations.