The film starkly reveals the toll propaganda takes on everyday individuals and communities.
Walkabout suggests that the precarious relationship between industry and nature isn’t so easily reconciled.
Jackie Chan lost his grace years ago and Chris Tucker has the voice and personality only a blind/deaf canine could love unconditionally.
No war film has matched Francis Ford Coppola’s madly overcooked polemic.
Where Todd Solandz walks and oftentimes crosses that fine line between provocation and exploitation, director Michael Cuesta rapes that line.
waydowntown is patently absurd, but its hold is pathologically frightening.
A spongy Cuban burlesque heavy on the cheese but light on historical perspective.
Tortilla Soup is airy and therefore fleeting but it’s nonetheless a sight for sore eyes.
Slant spoke to the cast and crew of one of the most evocative and talked about films of the year.
It proves to be a remarkably spare journey into the confines of the mind and a unique evocation of just how terrifying it is to loose one’s mind.
Ignore the G rating, Garry Marshall’s latest is about as inappropriate (and dishonest) as they come.
It dares to challenge The Sixth Sense as the definitive comment on ghostly insecurity.
Weightless, self-important, and downright offensive.
Va Savoir finds Jacques Rivette in familiar terrain.
Ghost World is a beautiful evocation of the ghostly nature of love, loss, and ultimately memory itself.
Scott McGehee and David Siegel’s film doesn’t work particularly well as melodrama.
The games’ sense of mythos and purpose is absent from Spirits Within.
It settles for behaving like your average hetero romantic comedy instead of striving to be less boring and sitcomish than them.
The film is less gaga musical than it is a liberating rejoinder to personal shame.
Robert Luketic thinks broader and gaudier than Alexander Payne and Wes Anderson.
The quality of Scary Movie 2 can only be measured by the ratio between what jokes work and what jokes don’t.