Jonas Åkerlund’s film gives viewers two well-worn assassin narratives for the price of one.
It’s said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman’s Book Club.
The film is the first masterpiece of what would become an increasingly technocratic ‘80s movie-house takeover.
This rough, lurid, pointedly un-preachy work of macho outlaw cinema, one of the best of the many John Dillinger movies, deserves to be better known.
The film simply mucks up its earnest take on the buddy movie with undercooked characters and on-the-nose writing.
Most disheartening is how the female leads aren’t given ample space to develop as dynamic characters beyond the most urgent confines of the script’s scenarios.
Signs of the push-pull of commerce and art that have always been present within TCMFF were more apparent this year.
Jaws is the definitive comedy posing as a monster movie, and this must-own Blu-ray allows it to look and sound as it never has before.
Its sensational content aside, Jaws doesn’t have a whole lot in common with what we now think of as summer blockbusters.
The film is an elegy for Chris, and so it became an elegy for the youthfulness and beauty of River Phoenix himself.
The 3D-enhanced death sequences are tailor-made for those who always wanted to take an ax to the MTV Beach House.
It packs a wealth of caring and admiration for its subject without ever feeling sanctimonious, showy, or overly nostalgic.
Piranha 3D proves a worthy heir to its brazen exploitation-cinema forefathers.
Messy genre jumbling has rhyme and reason in Leaves of Grass, as it speaks directly to the film’s portrait of life’s unpredictability and uncontrollability.