After Hours mines urban anxiety to unsettling yet often hilarious effect.
Criterion outfits Cronenberg’s utterly one-of-kind erotic techno-fable with a mint transfer and a few pertinent archival extras.
Frank & Lola occasionally benefits from the weird energy shared between Michael Shannon and Imogen Poots.
Thanks to a strong performance by Nicholas Hoult, the film keeps threatening to become more dynamic and self-critical than its final result.
The film’s sporadic intensity springs from the filmmaker’s implicative complicity with his main character.
The most enduring critique leveled against the cinema du look is its fixation on surface.
The all-access pass the film affords viewers on the outside looking in turns out to be a double-edged sword.
Here, the town of Woodstock is a magical place where long-simmering familial differences can be dissolved in a vibe of good feelings
In Xavier Gens’s The Divide, the revolution will not be televised, only the degradation of human civility.
8 Million Ways to Die turned out to be the final film of one of the most endearing filmmakers from the New Hollywood era.
Exodus Fall is a road movie in which, once out of Texas, nothing bad can ever happen to our children.
If there’s an upside here, it’s salt-and-pepper stud Dermot Mulroney.
Ball Don’t Lie contumaciously refuses to play to its strengths.
The film is a turgid series of druggie hallucinations, softcore sexual trysts, and violent confrontations.
The characters are treated with all the sympathy of amoebas seen through a microscope.
The back of the box calls the film a Chinese puzzle. Are they sure they didn’t mean Chinese Water Torture?
It’s a tragedy to show up at work to give away more of your time when you’ve failed to define yourself the night before.
Sans Tarantino commentary track, this may not be the definitive edition of the film, but it certainly comes close.
Quentin Tarantino’s second feature is at once ridiculously entertaining and remarkably weightless.
It’s like staring at Arliss Howard’s penis for two hours.