The film is, conceivably, every bit as annoying as any random Kate Hudson rom-com, only with different annoyances.
The ghosts from the past, entering the frame in reenactments, hover above Stranded from start to finish.
Agnès Jaoui’s Let It Rain is the kind of film it’s hard not to be snotty about.
The film should be available to as many people as possible free of charge.
It’s always a bad idea to argue with the Master.
What the hell happened?
HND@Grassroots: Season 2, Episode 4 (22), “A Whiff of Whiteness” with Steven Boone and Lauren Wissot
Our first episode sans both John and Vadim features House contributors Steven Boone and Lauren Wissot on the weighty subject of Ballast.
This being a big-budget American film, there is the obligatory car chase, not bad of its kind.
Notoriously, Colbert always wanted her left profile to be favored in two-shots, and this was a defining obsession.
To Live and Die in L.A. is a forceful, semi-serious diagnosis of a prevalent human malady.
One thing prolonged exposure to a candidate can give us is a sense of their personality.
One of the most important ways to read and critique this medium is as a visual language.
Speaking of math, there was a lot of it recited in Nashville.
I have not read the novel, but James McBride’s screenplay is a mess.
Sympathy comes at a premium in Chouga.
There’s one defining moment in An American Carol that assures you this is a David Zucker film.
After hitting fans with bombshells a-plenty in “Six Months’ Leave,” it’s only to be expected from Mad Men that the follow-up would go in an entirely different direction.
This is a short documentary about Peanuts animator Bill Melendez.
The theme of “the double” has exerted a complex and ambiguous fascination throughout the cultural history of the last century.
I beg your indulgence as I go on yet another financial market crisis rant.