There isn’t a single moment in Biutiful where one can’t feel the director pulling the strings.
Iron Man 2 is a a pretty chewy comic-book movie, but it never feels self-important or dense.
If we accept that television, like a movie screen, is a filter on reality, then what Gianvito does is put a filter on a filter.
Check in for the next hundred days and see what you think of the movies I’m watching.
I Wish I Knew is a bit inscrutable, never quite locking down an easy theme or single organizational strategy.
I want to talk about an interesting comic book movie today, but first I guess I should talk about Iron Man 2.
Despair is the dominant mood of Mike Leigh’s Another Year.
The original science fiction blockbuster, Metropolis is a high-water mark in the late silent era.
The episode maintains the high quality displayed by the first half of this two-parter, “The Time of Angels.”
Hollywood’s infatuation with sombre reinventions continues in Ridley Scott’s depressingly dull Robin Hood.
Wall Street: Money Never Sleeps plays a bit like a knowing self-parody of Olive Stone’s typical bombast.
Chongqing Blues is an unwieldy barge of clichés, heavy-handed symbols, and clumsy, inconsistent formal choices.
Rope in particular is “minor” in large part because Hitchcock created so many majors.
What is normal, really?
Robin Hood seems to have been designed with the express purpose of removing from the myth everything that makes it enjoyable.
By now, I’m sure many of us have read about Setoodeh’s infamous Newsweek piece about gay actors.
This isn’t what I expected. A seven-hour layover?
Fatih Akın is a filmmaker of irrepressible energy.
The film’s quite right in showing the avant-garde as an enormously diverse movement.
The marvelous pre-titles sequence is a classic five minutes of Doctor Who.