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(2002) |
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"An engrossing, if flawed, first step into the digital world from a cinema master."
[dvd review] |
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Slant Magazine |
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3/4 |
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(2002) |
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"There is a sense here of an encroaching darkness humbly met, unburdened by one-note feelings such as fear or joy and simply experienced as a profound moment of enlightenment."
[movie review] |
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Slant Magazine |
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2/5 |
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(2009) |
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"It’s hogwash of the highest order, a romanticized take on disability that sees it both as God-gifted higher calling and seductive precoital bling."
[movie review] |
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Time Out New York |
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(2008) |
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"Especially disappointing after Schrader's precise and undervalued character study The Walker, though by this point it should be clear that erraticism is a key facet of his artistry."
[movie review] |
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UGO |
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3/5 |
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(2009) |
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"Alix knows how to frame a shot to emphasize his character’s ever-shifting emotional states, but there’s something missing, an elemental sense of space that would better complement the heroine’s figure-in-a-landscape distress."
[movie review] |
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Time Out New York |
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2/6 |
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(2009) |
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"The time-jumping narrative and self-consciously somnambulant mood undermine the writer-director’s zeitgeist-inspired thesis."
[movie review] |
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Time Out New York |
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.5/4 |
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(2004) |
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"The John Wayne Gacy of films."
[movie review] |
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Slant Magazine |
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2/4 |
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(1975) |
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"Suffice to say that Elem Klimov's biopic of the mad monk Grigori Rasputin more than lives up to its title."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(2004) |
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"As if in answer to Haiti's continuing cycle of violence, [Jonathan] Demme proposes through [Jean] Dominique a new cycle of hope."
[movie review] |
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Slant Magazine |
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(2004) |
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"A heartfelt human testament from one of our greatest directors."
[dvd review] |
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Slant Magazine |
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(2007) |
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"Godliness, so The Air I Breathe finally tells us, is all about the Benjamins."
[movie review] |
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The House Next Door |
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.5/4 |
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(2004) |
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"The Alamo is further, sobering proof that every dog(gerel) has its day and every generation gets the movie it deserves."
[movie review] |
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Slant Magazine |
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5/5 |
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(1974) |
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"Many of Fassbinder's best films possess a kind of cosmic balance. No one character or belief rises above another without the other shoe dropping."
[movie review] |
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ToxicUniverse.com |
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6/6 |
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(1979) |
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"The limited strengths of its staple sci-fi horrors always derived from either the offhand organic/ Freudian resonances of its design or the purely (brilliantly) manipulative editing and pacing of its above-average shock quota."
[movie review] |
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Time Out New York |
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3/5 |
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(2003) |
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"This then is David Gordon Green's cinema - messy, frustrating, and fascinating, an ever-growing process towards something unknown."
[movie review] |
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ToxicUniverse.com |
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2/5 |
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(2009) |
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"Told in final-flight flashback (naturally) with cumulus cloud scene wipes (of course!), Earhart’s life is reduced to a series of solemnized wide-screen tableaux populated by locale-specific extras acting as starstruck filler."
[movie review] |
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Time Out New York |
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(1970) |
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"As Billy Wilder turned a crumbling Berlin into a slapstick, satirical playground in One, Two, Three, so Fassbinder offers up The American Soldier's Munich as a monochrome city of sadness."
[movie review] |
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The House Next Door |
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(2008) |
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"A blatantly direct pastiche of The Breakfast Club, if not The Texas Chainsaw Massacre Part 2."
[movie review] |
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UGO |
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2/5 |
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(2009) |
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"Lone Scherfig directs it all as if it were a breezy lark, so a third-act tonal shift makes for an incongruous, excessively moralistic fit with everything that’s preceded."
[movie review] |
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Time Out New York |
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3/6 |
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(2009) |
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"How dark the con of Ron that he can so vividly simulate thought in what is truly an intellect-free enterprise."
[movie review] |
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Time Out New York |
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4/4 |
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(1958) |
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"Naruse examines his own faults and fears through Ryokichi, though he also considers the reverberating effects of the character's actions."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1933) |
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"Apart from You is finally all frustrated anticipation."
[movie review] |
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Slant Magazine |
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(2008) |
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"The various symbols never coalesce into metaphor so much as they stand stagnant and hollow at the edges of the frame."
[movie review] |
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UGO |
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(2007) |
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"It's the minor details that impress more than the high falutin' ones."
[dvd review] |
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UGO |
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3.5/4 |
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(1960) |
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"In tenor, The Approach of Autumn recalls the stark, light-touch despondency of Morris Engel's Little Fugitive."
[movie review] |
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Slant Magazine |
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4/5 |
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(2002) |
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"Egoyan uses the inherent falseness of movies ... to achieve a truth his own."
[movie review] |
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ToxicUniverse.com |
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1/5 |
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(2009) |
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"It doesn’t matter how much garrulous delusion the subjects spout. [Director] Pray buys it wholesale and propagates the myth that there’s something to respect about getting inside people’s heads and rewiring them into mass-consumptive lemmings."
[movie review] |
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Time Out New York |
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2/4 |
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(2005) |
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"How long can one man piggyback on the success of Chinatown? The beat goes on..."
[movie review] |
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Slant Magazine |
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(2008) |
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""Dutiful" might be the best term to describe Assembly, as it never rises above a general competence of vision."
[movie review] |
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UGO |
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2/4 |
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(2009) |
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"It's a product of a dangerous sort of tunnel vision that afflicts a number of documentarians these days."
[movie review] |
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Slant Magazine |
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3/4 |
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(2006) |
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"August Days seems a profound amalgam of all the versions of this story that could ever be told."
[movie review] |
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Slant Magazine |
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2/6 |
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(2009) |
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"Away We Go in brief: the endless promise of profundity trampled by dime-store psychologizing."
[movie review] |
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Time Out New York |
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