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(2007) |
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"There's something willfully obscurantist about Sad Vacation, as if it is, first and foremost, a private joke between writer/director Shinji Aoyama and his performers."
[movie review] |
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UGO |
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1.5/4 |
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(2008) |
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"Winner of the 2006 Sundance Grand Jury Prize, Padre Nuestro unfortunately lives down to the dubious nature (with a few notable exceptions) of that so-called honor."
[movie review] |
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Slant Magazine |
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4/4 |
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(2005) |
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"Bergman consistently evokes the ghost of history in Saraband."
[movie review] |
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Slant Magazine |
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(2008) |
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"When [Moore] embarrasses her son by forcing him to read a passage from de Sade's Justine (introduction by Georges Bataille!), ... it's a potent familial cruelty to place alongside the best of Davis and Crawford."
[movie review] |
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The House Next Door |
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(2007) |
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"How unfortunate the film with none."
[movie review] |
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The House Next Door |
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3.5/4 |
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(1967) |
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"The cinematic equivalent of a hangover, though the heady haze the film conveys is part of its charm."
[movie review] |
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Slant Magazine |
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(2007) |
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"Emigholz's rigorous aural/visual cataloging of Schindler's efforts uncover the souls of these structures, and it's a sight to see."
[movie review] |
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The House Next Door |
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1.5/4 |
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(2006) |
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"It's tempting, one must admit, to mangle the title of Woody Allen's latest trifle and let it stand as a review. To wit: Pooper Scoop."
[movie review] |
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Slant Magazine |
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3.5/5 |
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(1986) |
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"The movie, for all intents and purposes, should not work. And yet it wholly and completely does."
[movie review] |
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ToxicUniverse.com |
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2/4 |
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(2004) |
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"The bulk of Secret Window is best summed up by another of the film’s thematic constants—a primary character’s pathological taste for corn."
[movie review] |
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Slant Magazine |
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3/5 |
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(2009) |
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"Vogue VIP Anna Wintour slinks through this highly entertaining vérité documentary like a stoic, sunglasses-bedecked fetish doll."
[movie review] |
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Time Out New York |
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(1964) |
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"My mistake. Four coffins for all previous video versions of these films."
[dvd review] |
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Slant Magazine |
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(2008) |
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"Waters is trying to have his cake and eat it out too."
[movie review] |
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UGO |
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(2008) |
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"In its best moments, [suggests] a live-action rendering of the Jerry Scott/Jim Borgman comic Zits."
[movie review] |
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UGO |
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3/6 |
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(2009) |
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"The film is founded on shaky, near-exploitative ground, something mirrored in the agitated handheld camerawork by Alex Bergman and in Berkowitz’s offhand comment about the good this film could do in encouraging safe sex."
[movie review] |
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Time Out New York |
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(1968) |
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""What a wonder is a gun," opined one-time Bergman adapter Stephen Sondheim."
[movie review] |
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The House Next Door |
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(2006) |
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"Prozac porn."
[movie review] |
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Slant Magazine |
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2/5 |
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(2009) |
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"The effort is certainly more appreciable than the execution."
[movie review] |
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Time Out New York |
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1/4 |
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(2004) |
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"Credit Shrek 2 for being the rare sequel that more or less equals its predecessor—the first film was garbage, and so is the second."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(2004) |
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"More than anything, Sideways furthers the impression that Alexander Payne is a great structuralist filmmaker."
[movie review] |
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Slant Magazine |
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(2006) |
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"Owning this set is your moral imperative."
[dvd review] |
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Slant Magazine |
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4/5 |
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(1976) |
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"One longs for a less mawkish hand whenever this film slips into didacticism, the prime offender being Stévenin’s climactic speech to his class."
[movie review] |
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Time Out New York |
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5/5 |
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(1972) |
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"To view the work of Andrei Tarkovsky ... is to look into the face of God."
[movie review] |
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ToxicUniverse.com |
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2.5/5 |
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(2002) |
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"Stoned on cinema, Soderbergh retreads the paces of Stanislaw Lem and Andrei Tarkovsky ... appropriat[ing] certain settings and images to mostly failed effect."
[movie review] |
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ToxicUniverse.com |
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(2008) |
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"Jennings and Goldsmith make good with the implications of their pseudonym [Hammer & Tongs], treating the proceedings as the world's biggest, baddest science project."
[movie review] |
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UGO |
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4/4 |
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(1943) |
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"Naruse's atypically swooping camera moves have a profound majesty, but his customary sense of stasis and observance is here as well via the film's languorous Noh sequences."
[movie review] |
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Slant Magazine |
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3/4 |
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(1954) |
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"Sound of the Mountain is reportedly director Mikio Naruse's favorite among his pictures and, to a point, it is easy to see why."
[movie review] |
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Slant Magazine |
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(2007) |
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"Southland Tales might best be approached as poetry in enervated motion."
[dvd review] |
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UGO |
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(2008) |
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"It flies where it will, ever joyous and blissful."
[movie review] |
|
UGO |
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(2008) |
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"Take[s] a page from the cartoonist Bill Watterson, who noted of the tiger protagonist in his great Calvin & Hobbes, 'The nature of [the character's] reality doesn't interest me, and each story goes out of its way to avoid resolving the issue.'"
[movie review] |
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The House Next Door |
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5/5 |
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(2003) |
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"Spider reminds us, through its lead character, that human imagination is many things all at once: mechanistic, wondrous, stunted, unique, distressing, erotic, tragic."
[movie review] |
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ToxicUniverse.com |
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4/4 |
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(1928) |
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"This is the Fritz Lang method: pose a question, then answer it, though never in any sort of predictable rhythm."
[movie review] |
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Slant Magazine |
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(1951) |
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"The Steel Helmet (1951) is a fever dream of the Korean War, entirely possessed of its own unique, inimitable rhythms."
[movie review] |
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The House Next Door |
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2/5 |
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(2009) |
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"It’s a big ol’ wallow in unpleasantness, a film that relies on simplistically patriarchal antagonists and vague, wet-willie cries for intervention."
[movie review] |
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Time Out New York |
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3/4 |
|
(1934) |
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"The mélo becomes mythic thanks to Naruse's expert sense of montage."
[movie review] |
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Slant Magazine |
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(2007) |
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"The first few scenes of Stuck are rigorous, assured, and full of promise, which makes the film's subsequent devolvement into empty-headed slasher terrain all the more distressing."
[movie review] |
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UGO |
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4/4 |
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(1956) |
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"In Sudden Rain, Setsuko Hara uses her trademark beatific grin as a kind of Noh-theater disguise masking a virulent emotional undercurrent."
[movie review] |
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Slant Magazine |
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(2008) |
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"The gun never goes off, but the possibility (the precipice) remains."
[movie review] |
|
UGO |
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2/4 |
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(1958) |
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"Summer Clouds' placement in Naruse's canon suggests we view it primarily as an exercise."
[movie review] |
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Slant Magazine |
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4/4 |
|
(2005) |
|
"Sokurov reveals a man trying desperately, though honorably, to avoid an inevitable turn of the tide.
"
[movie review] |
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Slant Magazine |
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| |
5/5 |
|
(2005) |
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"Sokurov sees his titans of history as men playing gods, and Hirohito’s climactic renunciation of his divinity is the deeply affecting end point."
[movie review] |
|
Time Out New York |
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| |
1/6 |
|
(2009) |
|
"Best to take a page from Rose’s métier and bleach this one fully out of sight and mind."
[movie review] |
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Time Out New York |
|
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| |
2/5 |
|
(2009) |
|
"Best to take a page from Rose's métier and bleach this one fully out of sight and mind."
[movie review] |
|
Time Out Sydney |
|
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| |
2/4 |
|
(2006) |
|
"Superman Returns is a pleasant enough piece of hackwork, anonymous in all the right ways so that it neither offends nor thrills."
[movie review] |
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Slant Magazine |
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| |
4/5 |
|
(2009) |
|
"Surrogates is an A-list blockbuster that would fit, damn proudly, on the lower half of a double bill."
[movie review] |
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Time Out New York |
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| |
3/5 |
|
(2003) |
|
"[Ozon] treats his actresses like ruined objets d'art, fallen older goddesses (or corruptible youthful ones) who are just grist for his pop cultural mill."
[movie review] |
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ToxicUniverse.com |
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| |
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(2008) |
|
"...though the headless chickens dance."
[movie review] |
|
UGO |
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