Dean Wright’s For Greater Glory is the type of film that gives the screen epic a bad name.
The body of Ray’s best work reveals a laudable consistency of viewpoint, thematic cohesion, and aesthetic distinctiveness.
“It’s the pictures that got small.” Those words make up the second half of one of the most famous quotes in movie history.
The awe-inspiring camerawork combines gorgeous color, expansive landscapes, and a set of beautifully incorporated symbols.
Bertolucci and Vittorio Storaro's master class on epic filmmaking does David Lean better than David Lean.
Ratatouille is darling, even if I’m still of the opinion that a rat will eat your face if you let your guard down for a second.
The film is a compendium of multifarious genre inflections seemingly intended for friends of Tori.
If Brad Bird has a signature auteur trait it would be that each of his films are struggles with and reactions to modernity.
As always, Pixar’s technological invention remains peerless, both for its stunning detail as well as its inventive flair.
For whatever reason, it’s not Peter O’Toole’s perfect 0-for-7 record leading up to this year’s Best Actor contest that’s standing in award-magnet Forest Whitaker’s way to a win.
Looking at the poster for Venus, one could be forgiven for thinking that the end was near.
Venus is a cleverly written but somewhat muffled paean to sensual appetite.
Director Charles Sturridge performs a delicate operation with this latest Lassie movie.
Rex Reed called it “an action spectacle of weight, splendor and vast entertainment value.” Make of that what you will.
Vile Bodies, Evelyn Waugh’s satirical tribute to London’s frenetic party people, is the basis for the spectacularly irrelevant Bright Young Things.
Wolfgang Peterson’s sturdy film is largely faithful in recreating the basic elements of Homer’s cumbersome narrative.