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(2008) |
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"Stone's filmmaking fails to charge the narrative with the needed turmoil"
[movie review] |
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CinePassion |
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(2008) |
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"It's an utterly routine picture, but its low-key mood and acting disarm"
[movie review] |
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CinePassion |
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(1952) |
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"When contrabandists become businessmen and human life is blown away as simply as the tobacco in a half-rolled cigarillo, heroism and grace are notions that wither in the heat"
[movie review] |
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CinePassion |
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(2007) |
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"Allergic as I am to quirkiness, I was won over"
[movie review] |
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CinePassion |
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(2007) |
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"Like the drunk guy who squeezes your arm and tells the same joke over and over until you laugh, goddamn you, laugh!"
[movie review] |
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CinePassion |
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(2005) |
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"Reverently reductive"
[movie review] |
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CinePassion |
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2/4 |
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(1987) |
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"Stone's attack on the excesses of the Me Decade could easily be dubbed Mr. Smith Goes to Wall Street."
[movie review] |
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Slant Magazine |
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(1987) |
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"Greed may be good, but this anniversary edition of Oliver Stone's humorless '80s satire is exceedingly generous with extras."
[dvd review] |
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Slant Magazine |
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(2008) |
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"Captivating"
[movie review] |
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CinePassion |
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(2005) |
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"A dry yet whimsical touch, specifically British and also aware of cinematic tradition"
[movie review] |
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CinePassion |
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(2006) |
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"Intentionally or not, the movie locates a strain of ignorance to go along with the bravery"
[movie review] |
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CinePassion |
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(2009) |
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"Attempts to add something to the original betray an artistic sensibility summed up with 'Whoa, cool!'"
[movie review] |
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CinePassion |
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(2007) |
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"Gray assumes rather than dramatizes the depths of his characters, scanning for gravitas where there are only rickety clichés"
[movie review] |
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CinePassion |
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3/4 |
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(1935) |
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"Much of the pleasure of The Wedding Night rests in the way director King Vidor plays fair with his slight material, never condescending to its melodramatic potential while finding fresh ways to express it."
[movie review] |
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Slant Magazine |
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(1935) |
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"A bare-bones DVD, but a forgotten 1930s melodrama worth discovering."
[dvd review] |
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Slant Magazine |
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(2008) |
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"Bruises while barely raising its voice"
[movie review] |
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CinePassion |
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(2009) |
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"A sub-Don Rickles nuisance at 5 minutes and medieval torture at 92"
[movie review] |
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CinePassion |
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(1930) |
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"With Rio Grande and Wagon Master, the last third of John Ford's unofficial musical trilogy of 1950"
[movie review] |
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CinePassion |
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(2008) |
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"Makes Michael Moore look like Marcel Ophüls"
[movie review] |
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CinePassion |
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(1989) |
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"Or: How the whole world can fit into an Our Gang episode"
[movie review] |
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CinePassion |
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(1984) |
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"The director's eye shifts from the indigenous totem poles being celebrated to the less waxen eccentrics swarming in the sidelines"
[movie review] |
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CinePassion |
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(2005) |
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"A metaphysical whodunit"
[movie review] |
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CinePassion |
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(2009) |
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"They're all militantly dreary, like a Prozac-starved version of the seven dwarfs. (There's Lugubrious, Needy, Fretful, Disconsolate, Remorseful...)"
[movie review] |
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CinePassion |
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(1963) |
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"Mario Bava's erotic masterpiece"
[movie review] |
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CinePassion |
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(2009) |
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"A lively trifle"
[movie review] |
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CinePassion |
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(1948) |
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"Mackendrick's already evident feeling for mordant human clashes ruptures the studio's coziness"
[movie review] |
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CinePassion |
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(1981) |
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"Fuller's hound from hell chews Crash's can't-we-get-along platitudes and spits them out."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1981) |
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"Hate is a dog from hell in White Dog, Samuel Fuller's abused and abandoned late-career masterpiece about homegrown racism."
[movie review] |
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Slant Magazine |
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3/4 |
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(1929) |
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"The most spectacular shot remains a close-up of a tear forming in Riefenstahl's terrified visage."
[movie review] |
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Slant Magazine |
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(1929) |
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"Decades before Stallone in nut-hugging shorts, check out the first cliffhangers."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1952) |
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"Beauty in Albert Lamorisse's brand of cinematic poetry stems from a childlike view of the world that sees bliss and sorrow as inseparably bound and equally enchanted."
[movie review] |
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Slant Magazine |
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(1952) |
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"A lovely and troubling evocation of childhood fantasies."
[dvd review] |
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Slant Magazine |
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| |
3/4 |
|
(2009) |
|
"Something of a distant Teutonic cousin to Henri-Georges Clouzot's caustic Le Corbeau, White Ribbon amply displays Haneke's filmmaking mastery."
[movie review] |
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Slant Magazine |
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(1952) |
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"Warm Flaubertian satire"
[movie review] |
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CinePassion |
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(1973) |
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"A mordant study of theological anxiety"
[movie review] |
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CinePassion |
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| |
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(2006) |
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"When The Wicker Man offers more laughs than Talladega Nights, it might be a sign for the auteur to switch brands to comedy"
[movie review] |
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CinePassion |
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| |
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(2006) |
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"Raw materials are mingled with staged performance, context is scrambled, all of it is transformative"
[movie review] |
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CinePassion |
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| |
.5/4 |
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(2007) |
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"Walt Becker's rancid midlife-crisis "comedy" seems serenely unperturbed by the grand canyon between the least likable protagonists in recent memory and the audience-tested need to impose redemption onto them."
[movie review] |
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Slant Magazine |
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4/4 |
|
(1957) |
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"Frank Tashlin never could harmonize his celebratory/critical impulses toward American pop culture, so it comes as no surprise that this is both his funniest and most despairing picture."
[movie review] |
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Slant Magazine |
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(1950) |
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"The ruthless scraping of the Western's heroic veneer is Anthony Mann's stroke of genius"
[movie review] |
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CinePassion |
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| |
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(2007) |
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"The film's stark outrage exposes the pussyfooting that these days passes for 'political'"
[movie review] |
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CinePassion |
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| |
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(1972) |
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"An important, lacerating document receives a hearty DVD treatment."
[dvd review] |
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Slant Magazine |
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| |
3/4 |
|
(1972) |
|
"Like Hearts and Minds and Fahrenheit 9/11, Winter Soldier is less documentary than in-the-heat-of-conflict document, too close to the bone for "distance.""
[movie review] |
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Slant Magazine |
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| |
2.5/4 |
|
(1986) |
|
"A mid-career faux pas, or the director's equivalent of the coruscating, laugh-stuck-in-your-throat dissonance of The King of Comedy?"
[movie review] |
|
Slant Magazine |
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| |
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(2005) |
|
"Gets under the skin"
[movie review] |
|
CinePassion |
|
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| |
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(1941) |
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"Joan Crawford, disfigured for her (and George Cukor's) art"
[movie review] |
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CinePassion |
|
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| |
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(2008) |
|
"The cinematic equivalent of yoga-class muzak"
[movie review] |
|
CinePassion |
|
|
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| |
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(2006) |
|
"A questioning artist neutering himself for the sake of uplift"
[movie review] |
|
CinePassion |
|
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| |
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(2008) |
|
"In his least gimmicky film yet, Aronofsky ditches his usual skittery stylistics in favor of a relaxed atmosphere of seediness and a comeback-kid performance from Mickey Rourke."
[movie review] |
|
Slant Magazine |
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