The most striking thing about Carnage is how much funnier it is than its source material.
Intentional or not, the sly punchline to Roman Polanski’s Carnage calls bullshit on Michael Haneke’s Caché.
Sleeping Beauty is enervated, ludicrous, and the sort of unique debut that makes one impatient to see what comes next.
Perhaps the most irreconcilable and disturbing of all filmmakers, he possesses a sort of quiet mastery that doesn’t seem to be in vogue these days.
A violent spoof of social dead-ends blisters beautifully on Blu-ray.
Deneuve is a bit like Garbo, in that we as an audience have always projected our own fantasies onto her phenomenal beauty.
Understanding Screenwriting #43: Shutter Island, The Ghost Writer, The Messenger, & More
Martin Scorsese’s usual lack of restraint works nicely throughout Shutter Island.
Ghost Writer suggests a game of chess played delicately and with great precision.
Jerry and Jamey worked their butts off on this, and it shows.
Repulsion refers to a lot of other movies, but its queasy black humor is entirely Polanski.
One for the ages, Repulsion is a master class of hypnotic movie brio.
Connecting Polanski’s work to what a western audience would refer to as absurdism or surrealism, Bird views them as personal artistic statements.
Its indictment ultimately feels like a secondary issue to Polanski’s apparently incontrovertible guilt.
Paramount meant what they said when they were giving Chinatown the “collector’s edition” treatment.
The exhaustive, labyrinthine narrative is built up like a fortress around the film’s bitter heart.
Chinatown’s final revelations are all about personal intrusion.
Here are five performance pieces from one of Noo Joisey’s favorite sons.
The film is a master-class mosaic of aural detail and visual sleights of hand.
Framed along severe diagonal lines, Oliver Twist’s visual precision is startling, and this transfer does remarkable justice to it.
This Oliver Twist isn’t the nasty affair that Roman Polanski fans might be hoping for.