It belongs in the same bucket as another unfairly maligned 1986 mythical fantasy with a bad script, The Golden Child.
Stephen Malkmus continues to make not-exactly-Pavement music with his band the Jicks.
The music of Gustav Mahler is appropriate for the kind of contemplation that Terrence Malick aims to evoke in The Tree of Life.
It laughs at its hero, but recognizes that he is a hero nonetheless.
Festivals are strange and wonderful environments.
Robert Benton’s graceful and poetic final scene in Places in the Heart does what I think Malick is after even better.
The weather has gotten better in Karlovy Vary. Sort of.
The Great Mouse Detective is a Disney movie primarily concerned with character instead of story.
If rap critics had their way, Jean Grae would be the queen of conscious hip-hop.
It’s silly to complain about anything when spending time in the company of Pedro Almodóvar, Jerzy Skolimowski, and Wim Wenders.
Under the Cherry Moon is terrible, and it really didn’t have to be.
Ghosts in the machine, indeed.
Polytechniques hemorrhaging atmosphere of dread and oncoming violence creates a space of inescapable soul-sick horror.
The M.C. Escher stairs sequence is especially memorable, as is the one number David Bowie doesn’t sing.
“Shuffle” rekindles the dynamism that was somewhat absent from last year’s Flaws.
Stéphane Lafleur does nothing to disavow me of the notion that Canada is some kind of depressing anomic frozen wasteland.
Giulia Amati and Stephen Natanson’s documentary is a startling glimpse into life at ground zero of the Israeli occupation.
As a result of filmmaking both respectful and restrained, an array of poignant images, in wide and long shots as well as in close-ups, emerges.
Terrence Malick’s fifth film hadn’t crawled beyond Cannes, New York or Los Angeles before speculation intensified about the director’s future projects.
Fatima Buntinx carries Las Malas Intenciones on her diminutive shoulders, and her performance treads a fine line.