The film is one of Wong’s purest evocations of love’s excitement and heartbreak.
Aronofsky’s influential hellride of a film gets a sturdy 4K upgrade and a few new extras that extol its technical merits.
If Irréversible was Noé’s 2001: A Space Odyssey, Enter the Void is his Pink Floyd laser show.
Rodriguez loves grindhouse cinema, but you’d never know it from Machete, which seems more interested in mockery than homage.
A substantial Blu-ray package befitting the legendary status of Godard’s debut feature.
An underwhelming Blu-ray to remind viewers that the problems with Terry Gilliam’s recent films are not an entirely new development.
Fans of Stallone’s war-is-kickass-hell fable may get something from this extended cut. Everyone else can safely ignore it.
A worthy release that does justice to Bong’s terrific thriller. Hitchcock would be proud.
The festival ended with its longest competition title, and it wasn’t even a complete film.
Tender Son is pretentious, Gothic-tinged, and more than a little clunky.
Joe Wilson: Great American, or greatest American?
If Poetry’s emotions are diffuse, Our Life’s are downright incomprehensible.
Xavier Beauvois’s Of Gods and Men is, no more and no less, a handsomely mounted French prestige picture.
There isn’t a single moment in Biutiful where one can’t feel the director pulling the strings.
I Wish I Knew is a bit inscrutable, never quite locking down an easy theme or single organizational strategy.
Despair is the dominant mood of Mike Leigh’s Another Year.
Wall Street: Money Never Sleeps plays a bit like a knowing self-parody of Olive Stone’s typical bombast.
Chongqing Blues is an unwieldy barge of clichés, heavy-handed symbols, and clumsy, inconsistent formal choices.
Robin Hood seems to have been designed with the express purpose of removing from the myth everything that makes it enjoyable.
This isn’t what I expected. A seven-hour layover?