Vladimir Putin’s Russia is a complex place.
Though Ginger & Rosa is arguably Sally Potter’s best work to date, it’s certainly the filmmaker’s most accessible.
We discuss Vadim wanting to watch Toys as a six-year-old, the incompetence of Mark L. Lester, and more.
Under the mercurial surface lies a sorrowful heart.
We discuss filmmaking as a job, The Dark Night, appreciating bad blockbusters that feel, and more.
There’s no empathy in Haneke’s carefully composed frames, ruthlessly prolonged takes, and generally detached stance.
Bwakaw acknowledges the human spirit’s uncanny power to heal even the most traumatizing wounds.
In some ways, the movie totally subverts expectations.
Even as we get caught up in the Shakespeare drama, we are always aware that we are watching a group of men who are incarcerated.
Oh, boy, those are danger signs all over place.
Nadine uses its criminal situation as metaphor for the trials and tribulations of every marriage.
As often with Steven Moffat’s scripts, even just recapping what happens in the episode can be quite a challenge.
Ang Lee’s latest, Life of Pi, signals its visual strengths from its very first frame.
Angel Heart is a diamond of the highest order.
Night Across the Street too often degenerates into long perorations or overworked metaphors.
The ’80s were tough on James Bond.
Memories Look at Me is an unusually personal portrait of family life in China.
Antonio Méndez Esparza’s Here and There is as studiously unself-dramatizing as its subject.
Some of the films in competition attempted to remind the cushioned critics of reality.
Throughout, Michell and screenwriter Richard Nelson keep you at arm’s length from Franklin D. Roosevelt.