I did my vacationing first by way of the movie screen, making all subsequent traveling the realization of romanticized visions.
Testraint doesn’t seem to be an item on Tyler Perry’s menu.
Like it or not, Cheap Thrills does evince a consistent vision, however sophomoric.
You haven’t truly lived until you’ve seen Vampire Weekend via telecast in the anodyne confines of a conference room.
The Milk Carton Kids bring a measure of dark comedy to their music that complicates the comparisons they invite to Simon & Garfunkel.
Downloaded, a chronicle of the rise and fall of Napster, falls on the more conventional end of the documentary spectrum.
Beyond being asinine and unwittingly cryptic, the film is also a slice of unintentional sleaze.
Andrew Bujalski rejects the easy drama of the competition as a focus of Computer Chess.
Devendra Banhart’s frequent non sequiturs landed with such winsome glee that they somehow never felt contrived.
Here’s to the extremes of cinema!
The Pandora Stage at Antone’s showcased a slate of solid rock acts, from the ever-protean Akron/Family to the vintage pop-rock act Guards.
Prince Avalanche, a Judd Apatow-like bromance elevated to the realm of near-myth, is an extremely odd, deliberately jarring work.
Another opening-night gala screening, another crapshoot.
The marketing behind Spring Breakers cheekily promises just what the gonzo film delivers.
It’s been part of the film canon for so long that it’s valuable to remind audiences how gloriously alive and just plain fun it is.
The film demonstrates with intoxicating lyricism the confluence of apparent contraries.
The social condition that ended La Chienne also ignites Renoir’s uproarious social satire.
My Name Is Ki is haunted, albeit indirectly, by Agnieszka Holland’s fierce and brilliant A Single Woman.
Romantic idealism and environmental psychology become enmeshed, and indistinguishable, in the intimate Nights with Theodore.
Motorway takes an appropriately soft-shoe approach to one of the more endearing action-film premises in recent memory.