Kenneth Branagh’s third Agatha Christie adaptation is a dusty, dry, and sluggish affair.
Like most of Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
A worthy escalation of its predecessor’s sleek charm, John Wick: Chapter 2 is the finest action film since Mad Max: Fury Road.
The film remarkably balances its predecessor’s spartan characterizations and plotting with an expansion of scale.
It spins the narrative of one of the Victorian art world’s most mysterious marriages into a study of life lived and life merely examined.
Working in the most white elephantine of genres, Abel Ferrara has produced one of its few termitic entries.
Polisse is about broken people, using their interactions with damaged institutions as fuel for their own cyclical struggles.
It moves so playfully and briskly you may not notice its glibness, which may have been director Daniele Luchetti’s intent.
Welcome to the seedy demimonde of the club Paradise, where Abel Ferrara probes the dreams of lives less ordinary, including his own.
As its title suggests, the frenetic Italian youth picture Texas is a pastiche of primarily Western influences.
The arrival of Giordana’s masterpiece on video is cause for celebration.
Marco Tullio Giordana’s aesthetic is neither rigorous nor carefree, but it’s not anonymous.