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(1985) |
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""What is flesh alone?" Godard's supernal meditation sublimely surveys the body while reaching for the heavens."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1985) |
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"Hail Mary is limpid, serene, and, for all the pubic hair on display, glowingly chaste."
[movie review] |
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Slant Magazine |
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(2007) |
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"Much of the fun comes from director-choreographer Adam Shankman's happy acceptance of musical staples"
[movie review] |
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CinePassion |
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3/4 |
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(2007) |
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"Balancing earthy humor and scarring tragedy, Bahman Ghobadi's portraits of Kurdish wanderers are particularly expressive of Iranian cinema's sense of hope within instability."
[movie review] |
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Slant Magazine |
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(2006) |
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"The filmmakers bask disingenuously in their tidy vision of border-busting healing"
[movie review] |
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CinePassion |
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(2007) |
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"Zombie's fury is dulled by his veneration of the horror classic"
[movie review] |
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CinePassion |
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(1982) |
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"A misguided venture, an exploration of the artist's mind that merely excavates the roots of hollow post-modernism"
[movie review] |
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CinePassion |
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(2008) |
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"Kicks into tired oh-it-sucks-to-have-superpowers territory and opens up a can of racial issues it has no intention of investigating"
[movie review] |
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CinePassion |
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(1924) |
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"Conrad Veidt is the original innocent with dirty hands in this memorable bit of Germanic arcana."
[dvd review] |
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Slant Magazine |
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(1924) |
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"Like his more famous The Cabinet of Dr. Caligari, Robert Wiene's The Hands of Orlac is ponderous but indelible."
[movie review] |
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Slant Magazine |
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(1963) |
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"The walls of urban corruption come tumbling down under Rosi's muckraking gaze."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1963) |
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"For the most part, however, the film remains rigorous in its refusal to draw tidy conclusions."
[movie review] |
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Slant Magazine |
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(1967) |
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"Is the film too late, or too timely?"
[movie review] |
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CinePassion |
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(1968) |
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"Ted Post's direction is especially adroit at keeping the baroque flurries bubbling under the deceptive surface of old-pro craftsmanship"
[movie review] |
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CinePassion |
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(2009) |
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"Fear and loathing and douchebaggery in Las Vegas"
[movie review] |
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CinePassion |
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(2008) |
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"Shot in the inimitable Shyamalan lugubriousness"
[movie review] |
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CinePassion |
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(2006) |
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"George Miller's jubilant, eccentric film makes its CGI penguins vibrant, expressive, even cosmic"
[movie review] |
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CinePassion |
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(2008) |
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"Leigh's most visually beautiful picture since Topsy-Turvy, Happy-Go-Lucky is all about the clashing and connecting of such emotional biospheres."
[movie review] |
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CinePassion |
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(2005) |
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"Slick slime wrapped as a high-toned, girl-power shocker"
[movie review] |
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CinePassion |
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(2008) |
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"A bag of shoddy skits that barely qualifies as a movie and taints pleasant memories of their previous clowning besides"
[movie review] |
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CinePassion |
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(2005) |
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"A revealing but slender offering from a still-underrated funnyman."
[dvd review] |
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Slant Magazine |
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(2005) |
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"Chapter four in the boy-wizard franchise, and still no good scenes, interesting characters, or true imagination"
[movie review] |
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CinePassion |
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(2009) |
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"The most disappointing of the bunch, if only because it opens so promisingly"
[movie review] |
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CinePassion |
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(2007) |
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"The director, Peter Yates, pastes on the chiaroscuro, but under it is the summer-camp flatness that's always been the franchise's trademark"
[movie review] |
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CinePassion |
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(1963) |
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"The horror remains admirably attuned to the sense of solitude in a premature spinster"
[movie review] |
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CinePassion |
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(2006) |
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"Displays an almost Fassbinder-like sensitivity to emotional shifts in power"
[movie review] |
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CinePassion |
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(2009) |
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"May be the decade's greatest zombie movie"
[movie review] |
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CinePassion |
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(1974) |
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"Elating visions"
[movie review] |
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CinePassion |
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(2007) |
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"The dumbing down of the central joke just heightens its nastiness"
[movie review] |
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CinePassion |
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(1954) |
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"Up periscope for Fuller's solid Cold War yarn."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1954) |
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"Hell and High Water more than holds its own with such other all-business '50s naval flicks as The Enemy Below and Run Silent Run Deep."
[movie review] |
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Slant Magazine |
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(2005) |
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"By the time Etheredge-Ouzts uncorks the Suspiria-meets-Un Chant d'Amour climax, the film has snowballed enough subtext for five Robin Wood dissertations"
[movie review] |
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CinePassion |
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(2008) |
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"An unfulfilling show"
[movie review] |
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CinePassion |
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(1960) |
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"Cukor never loses sight of the theatricality which infuses both the fanciful incarnations of the saltimbanques and the genre conventions of the Western"
[movie review] |
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CinePassion |
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(2006) |
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"Of considerably richer interest than the revampings of The Texas Chainsaw Massacre and The Fog, not the least for having American-heartland horrors viewed through foreign glasses"
[movie review] |
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CinePassion |
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(1971) |
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"If Dennis Hopper dismantles revisionist-Western ennui in The Last Movie, Fonda embellishes it with poetic muddiness"
[movie review] |
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CinePassion |
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(2005) |
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"Impeccable formal control to match audacity is mandatory, and Cronenberg provides it"
[movie review] |
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CinePassion |
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(2006) |
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"Patronizing antimatter"
[movie review] |
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CinePassion |
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(2006) |
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"Starts with artful delusions before dribbling into nothingness"
[movie review] |
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CinePassion |
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3/4 |
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(2009) |
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"Home is finally hopeful in its view of familial bonds holding together as the characters are forced to face the far from idealized world they are inescapably a part of."
[movie review] |
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Slant Magazine |
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3/4 |
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(1979) |
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"At once Brian De Palma's most slapdash and most autobiographical picture."
[movie review] |
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Slant Magazine |
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(1970) |
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"Kastle is a born filmmaker with an uncanny feeling for the startling close-up and the excruciating long-take"
[movie review] |
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CinePassion |
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(2007) |
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"A subversive blast"
[movie review] |
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CinePassion |
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(2006) |
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"A series of interesting ideas floating around a sea of blood"
[movie review] |
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CinePassion |
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(2007) |
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"Poseur callousness all the way"
[movie review] |
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CinePassion |
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(2007) |
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"There's real fondness not just for the crash-a-tons being referenced, but also for a homey, practically imaginary England"
[movie review] |
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CinePassion |
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(1968) |
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"Bergman shakes his head and intuitive horrors cascade out, all he has to do is collect image after fulminating image"
[movie review] |
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CinePassion |
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(2005) |
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"Disregards the political shifts of Brazil's history by isolating the sprawling narrative from the rest of the nation, so that nothing can distract the director from his finicky composing"
[movie review] |
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CinePassion |
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3/4 |
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(1973) |
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"Jaundiced cultural allegory dressed up as anthropological re-creation."
[movie review] |
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Slant Magazine |
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(1973) |
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"Pereira dos Santos's notorious anti-establishment allegory is still a pungent meal."
[dvd review] |
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Slant Magazine |
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