Kino’s release highlights the harsh beauty and bitter bombast of Konchalovsky’s outsized action drama.
There’s a self-seriousness to most contemporary horror remakes that’s authentically disgusting.
A treacly tweener saga of first love that drowns in nostalgia, Flipped furthers Rob Reiner’s slide into irrelevance.
Risky Business’s status as the film that made Tom Cruise Tom Cruise overshadows its status in the teen-movie pantheon.
Michael Sheen stumbles in trying to pull off this delicate feat in Music Within.
The varied impressions of a discordant society finally banding together are offset by a concomitant sense of purgatorial limbo.
Like Coltrane’s cover of “My Favorite Things,” John from Cincinnati is an extended riff on things familiar, now made strange.
Thus far, David Milch and his cast have trod a fine line between the captivating and the repellent.
Completion does not necessarily mean forcing the end.
The fences go up in the aftermath of the miracle that closed the second episode of John from Cincinnati.
If there is a master narrative plan for the show it is the excavation and unearthing of that ineffable essence that makes us human.
Maybe the problem with John from Cincinnati is its miscalculated sense of center.
This this film epitomizes the selling-out of the punk movement.
Ten Reasons Why You Should (Or Shouldn’t) See Raise Your Voice.
You may have won this time Hilary Duff-my arch nemesis, but I’ll get you next time!
Identity is very pleased with its supposedly clever but completely nonsensical ending.