We’re picking this one out of a hat, folks.
As Mattie might say, in her almost biblical sense of wisdom, an eye for an eye, no pun intended.
All that’s missing from this set is a ticket voucher for the film’s eventual IMAX re-release.
One can practically hear the Oscar telecast’s orchestral music cuing up at the close of Robert Duvall’s every scene in Get Low.
Movies like this are all about authenticity.
A muddled vision, but one anchored by fiercely convicted performances by Viggo Mortensen and Robert Duvall.
Stanley Tucci’s two high-profile performances should have equaled one easy nomination.
So long as it’s moseying along without a clear sense of direction, the film exudes a laidback, ’70s-cinema character-study coolness.
The set pieces largely convey the same feelings as the novel’s, but screenwriter Joe Penhall’s adaptation has a patronizing way of spelling out their significance.
For better or worse, it stands testament to the fact that at least one segment of the counterculture had no place for women.
M*A*S*H is a good dint lower than its reputation.
This yuckfest (in the truest sense of the term) makes sure that, at every single moment, its audience knows exactly what’s coming next.
James Gray dramatizes the demoralizing sort of physical and psychic helplessness that was one of Hitchcock’s lifelong themes.
Eastwood’s other western trilogy won’t be challenged, but this set gives an interesting view of a star at a crucial crossroads in his career.
Had Lucky You reached theaters two years ago, Curtis Hanson would have been accused of shamelessly jumping on the celebrity-poker bandwagon.
If a 2.35:1 anamorphic widescreen transfer isn’t in the film’s future, this is now the definitive edition of Coppola’s seminal war epic.
In fighting off waves of melancholy over Deadwood’s premature demise, it’s helpful to reflect on the improbability of the show’s existence.
The picture and sound quality on all of the films is clean and clear with the exception of A Perfect Couple.
All that Thank You for Smoking really peddles is a smoggy cloud of “moral flexibility.”
Hill suggests that the western’s slow decline was probably due to two factors.