The film knows that there’s no way of reversing historical trauma, only surviving in its wake.
The series is charming, hair-raising, and heavy-handed in equal measure.
Simon Baker’s film isn’t about surfing so much as it is about riding a wave that must eventually break and recede.
If nothing else, Dan Mazer’s I Give It a Year serves as a corrective to the married-with-children worldview that dominates a certain strand of mainstream comedies.
Strange as it may sound, the absence of melodrama is the film’s greatest strength.
J.C. Chandor is able to mine potent workplace drama, and pluck tender nerves that are widespread among the current populace.
Margin Call loves speechifying, but the film is far more assured when lingering in the silence of its morally compromised characters.
Casey Affleck executes an uncondescending, chilling turn as the methodical, coal-hearted Lou Ford.
Ride with the Devil appeals more to the ears than the eyes and is more literate than cinematic.
At a particularly rundown corner of Almodóvar Boulevard and Tarantino Lane, you’ll find Women in Trouble.
Not Forgotten is a feature-length anti-tourism campaign for Mexico.
The Lodger is so mired in ineptitudes that the weather is the least of its problems.
Curtis Hanson’s film is a throwback in nearly every way: in setting, in style, in performance, in storytelling..
The film remains one of the best neo-noirs of the ’90s and a fine example of classical Hollywood storytelling.
There’s a sort of unwritten rule in comedy: don’t be longer than 90-minutes.
Daniel Waters’s pseudo-rom-com ultimately dies a slow death.
It looks as though Smith will be another victim of a good idea given a poor execution.
This is a predictable movie, not particularly funny, like Funny Face with no musical numbers.
Let’s just say that Something New’s title doesn’t extend to the film’s race-conscious rom-com formula.
Like a ghost, Bob Clark’s film is impossible to pin down.