Garrone’s adaptation of Carlo Collodi’s story trembles with corporeal strangeness and unpredictability.
Fellini’s extravagant final film is a charming reminder of a lost giant and a lost style of moviemaking.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
All of the extras are recycled from the DVD, so there’s some standard-definition content that’s suffered upscaling.
The farce is either laid on with a trowel or reeks of sour misogyny.
You never know what you’re going to get with a Woody Allen poster.
Jiří Menzel’s return to the cinema after 15 years of directing theater drags both of my pet peeves to the forefront, and then some.
The film is an objectionable romantic comedy from a con man who treats war as his comedic playground.
Manhattanites will especially enjoy Jarmusch’s latest, which takes us back to the days when you used to be able to smoke indoors.
Coffee and Cigarettes is more fun to reminisce about afterward than it is to endure.
Roberto Benigni’s take on Carlo Collodi’s classic fairy tale “Pinocchio” bears an unlikely resemblance to Fellini’s more grotesque carnivalesques.