The older 3:10 to Yuma harkens back to a time when westerns were westerns, with their own assumed moral systems and thematic boilerplate.
When they write a history of Twitter, hopefully a footnote will be spared for Alejandro Adams.
Why isn’t Lee Chang-dong considered in the same company as Hong Sang-soo or Bong Joon-ho or Park Chan-wook?
The film has a queasy sensibility that has less to do with the gory remains than the twisted psychology on display.
Film usually reveals itself to audiences with splices and scratches, while Eastwood has shown how DV printing and projection can look pristine.
Mysteries of Lisbon plays as an endlessly compelling juggling act.
Like most omnibus movies, Revolución is uneven and sometimes underdeveloped.
Old Cats is a clear-eyed, empathetic understanding of the agonies of aging.
A tour group passes behind a kitchen furniture setup. The guide says, “And here we have two dining room chairs and a table.”
The characters and motivations are often muddy, but the message is always clear in We Are What We Are.
Another Year is a tale of haves and have-nots—those who are touched by grace and those who are not.
Armond White always begins with himself and ends there too.
Mommy, do I have to watch this?
13 Assassins shows that Miike can indeed color between the lines.
The film is suitably dark and dangerous and filled with well-honed, visceral scenes.
The festival presents films in ten theaters daily, nine of them within a few block radius.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
The film manages to instill a building sense of dread as its characters mentally and physically disintegrate before our eyes.
The rhythm of the gym dictates the rhythm of the film.
What do Fidel Castro, Sigmund Freud and Rock Hudson have in common?