The film is riddled with nonsensically motivated and poorly thought-out characters who bear little resemblance to real human beings.
“Shoot” struck me as a relative disappointment, even if it still offers plenty to chew on.
Diary of the Dead gleefully engages with themes of spectatorship and subjectivity.
Who would deny that the revival of Charles Burnett’s career has been the major film event of the year?
Motivations are constantly being re-examined in the film, though Ira Sachs never privileges one point of view over another.
The film is an eye-popping pageant parade masquerading as rapturous religious art.
Russell T Davies’s new Doctor Who spinoff, Torchwood, starts out several steps ahead of the game.
Save for Silent Light’s bookend sequences, Reygadas works mainly in the implicative margins.
Argento’s triumph comes in fusing two schools of cinema-thought together, cranking the gore and monster quotient up to 11.
Before moving on to more important issues, let’s talk scarecrows.
Matthew Weiner seems to draw inspiration from films and literary works that are actual products of the Eisenhower/Kennedy era.
The Man From London is a multifaceted apotheosis.
If it weren’t for the actors, there wouldn’t be much to watch up there, just a dusty plain.
Rouben Mamoulian’s critical reputation as a filmmaker has always seesawed uncertainly.
Straw Dogs is about man’s quest to identify himself as masculine through the self-actualizing power of violence.
AMC’s Mad Men continues to bring the funny with an episode that furthers the exploration of Roger Sterling’s personality that began last week.
You give me a plucky loser trying to overcome the odds at any athletic endeavor, and I’m there.
Balls of Fury looks like another sports-spoof throwaway, but it does have a piercing reason for being.
Art is always informed by life, but one doesn’t automatically predict the other.
The second season finale of Big Love tries to do so many things at once that it periodically flies off the rails