Christian Petzold’s close-to-the-vest approach fits in the context of a narrative that takes place in 1980 East Germany
When it comes time to resolve the plot, the story simply falls to pieces.
The film is as effortlessly funny, breakneck, and smart as you may remember.
Once upon a time, stories of the Old West were the epitome of straightforward, uncomplicated adventure storytelling.
Joel Schumacher’s The Lost Boys is messy. Painful. Unhinged.
A pair of films by two of Japan’s most aesthetically radical cult directors have given me pause.
Giving yourself over to Reygadas and trusting him to deliver in the end is rewarding even without a clear-cut roadmap.
Imogene sounds like it was written by somebody who has never heard a single real-world conversation.
Room 237 is more companion piece than standalone work.
Between Tabu and The Last Time I Saw Macao, it would seem that hardlined formal rigor is alive and well in Portugal.
The film only seems remotely conventional next to Kill List’s structural radicalism and galling aesthetic shifts.
“Dinosaurs on a Spaceship” lets us know up front that this is going to be a “romp”—big, loud, and hopefully fun.
Passion utilizes its parent film’s narrative of corporate betrayal as mere framework for which De Palma to dress in all kinds of lustrous detail.
No, Jeremy Renner is not Matt Damon. Get over it.
Frances Ha feels like an unusually intimate, personal piece, a return to Noah Baumbach’s early, more naïvely optimistic phase.
The most difficult thing to conceptualize about marginalization is the fact that the exclusion simply doesn’t end.
There’s a palpable sense of both anger and sympathy on the part of Wang for the plight of his subjects.
Watching Dirty Dancing all these years later, the magic of that place remains, right where we left it.
What very good company Robert Redford keeps indeed.
Like the movie it touts, the one-sheet has some end-of-the-line authenticity.