Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.
The shell that shook the world returns to an even bigger screen.
As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
Unfortunately, the care with which the filmmakers set up Them That Follow’s context and their characters crumbles in the final act.
It often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
Writer-director Franck Khalfoun’s Amityville: The Awakening is an elegant entry in a lame series of horror films.
Jean-François Richet’s film shrewdly capitalizes on Mel Gibson’s off-screen embarrassments and controversies.
The formalism fashions effective textural shortcuts to behavioral understanding that the remarkable cast fills in with finesse.
It unites a mélange of teen-film tropes into a narrative overburdened with cultural references and framing devices.
The film settles into a time-honored groove of so many forgettable juvenile comedies before it.
The film is the cinematic equivalent of a teen making everything more melodramatic than it needs to be.
The most recent Rollin films to make their Blu-ray debut mark a significant departure for the filmmaker.
Fun Size may not age as well as the Beasties’ music, but for waggish Halloween kicks, it’s pretty close to a sure shot.
The operative sensibility of Rainer Werner Fassbinder’s cinema is panoptical.
One of Yossi’s virtues is Eytan Fox’s refusal to boil his main character down to an easy psychological framework.
With Project X, the teen sex comedy reaches its apocalyptic stage—almost literally.
One of this season’s hottest tickets is a site-specific theater piece entitled Elective Affinities.
When you think of Escape to Witch Mountain and Return from Witch Mountain, do you think of Thomas Pynchon and Thomas Mann?