Most of the film’s scenes feel planted, as if Wenders is introducing exhibits in a case.
Cure receives a superb transfer from Criterion that maximizes its abstruse beauty.
Belle shows an impressive generosity of spirit toward the modern teenage experience.
Hirokazu Kore-eda delights in piling on complications that lead us away from the question of guilt.
Itami’s “ramen western” is a zesty concoction that investigates the often surreal intersections of sex, death, and other human appetites.
The film’s visual style, aggressive editing, and unnecessary time jumps fail to add depth to its ludicrous plot and shrill characters.
Aspiring to something heavier but not meaning it is nothing more than a cheap ruse.
This raging bull of a samurai movie deserves a better Blu-ray package to complement its endlessly magnetic visage.
This swordfighting epic is delivered with a blockbuster scope and sincerity free of Takeshi Miike’s trademark gonzo insanity.
James Gunn is uninhibited about juxtaposing different tones and styles together in Super.
Ideology and action become hypnotic bedfellows in 13 Assassins.
13 Assassins shows that Miike can indeed color between the lines.
The film is another of Kiyoshi Kurosawa’s chilling portraits of micro and macro alienation.
The film is a courtroom procedural, yet one in which the central trial’s outcome is of far less concern than the mechanisms of the Japanese legal system itself.
Silk has superficial beauty but no soul.
The director’s visual sense doesn’t fail him; in fact, it makes the script’s more risible concepts seem more palatable than they should.
Though less histrionic than 21 Grams, Babel rests on the laurels of wafer-thin approximations of real people.
Rob Marshall doesn’t hype the soul of Japan, only its artifice.
During a Kiyoshi Kurosawa film, one sits in anticipation of the horrors lingering just outside the frame.
Imamura Shôhei’s film is a delirious ode to the female orgasm.