Ted Geoghegan’s Mohawk is a survival-of-the-fittest film that’s charged with a thunderous urgency.
The film has a bad habit of dropping the psychological inquiries to dully go through the genre motions.
Looper injects the sci-fi actioneer with a much-needed jolt of moral consciousness.
Looper at once understands the visual power of violence and is deeply critical of it.
Nothing screams hackneyed repurposing like using a Nietzschean citation as preface to very non-Nietzschean drivel.
The appeal of Deadgirl depends exclusively on the intriguing image at its center: a nude, softly writhing girl on a slab.
The film is further confirmation that not every minor story from a subculture necessitates cinematic interpretation.
Self-Medicated has won more accolades than Brokeback Mountain, not a single one for its side-splitting dialogue.
An artful but soulless stunt in the tradition of Miller’s Crossing.
Obsessively detailed and frequently absorbing, the film affects the form and function of a Rube Goldberg machine.
New Queer Cinema icon Craig Chester’s directorial debut Adam and Steve resonates from our current political moment.