It’s at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism.
Roberto Andò takes the form of a classical whodunit and bludgeons it with naïve indignation and sanctimony.
My Cousin Rachel leaves Rachel’s motives, desires, and integrity (or lack thereof) ambiguous through to the end.
Silvio Soldini’s meticulously paced Come Undone is about the fantasy of attraction evaporating over time.
The film begins as a story of ramifications for wrongdoings but ends as a near-celebration in the name of doing whatever the heck you want.
A geriatric summer adventure in which the appearance of action takes the place of the real thing.
Andrew Adamson puts far less energy into moral dilemmas than into an unfunny talking mouse lamely reminiscent of the Shrek director’s Puss in Boots.
The Unknown Woman begins the same way director Giuseppe Tornatore’s last film, Malena, operated throughout: by ogling a fine female form.
The closest kin to Gianni Amelio’s heartbreaking The Keys to the House may be Patrice Chéreau’s Son Frère.
If the film is any indication, the PTA Fan Club has collected enough fees from its members to buy itself a film camera and make their own movies.