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3.5/4 |
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(2005) |
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"Were-Rabbit is most concerned with the connections between things, specifically the ties that bind animal to human and, more theoretically, film frame to film frame."
[movie review] |
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Slant Magazine |
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2/5 |
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(2009) |
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"This Disney-sanctioned documentary on Papa Walt and company’s 1941 visit to South America is a dull, dry bit of mythmaking."
[movie review] |
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Time Out New York |
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1.5/4 |
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(1962) |
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"The resultant self-aware grotesquerie finally seems more in service of hagiography than truth."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(2005) |
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"Tsai uses the vernacular of pornography against itself: every image is empty, obvious, posed."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1964) |
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"Welcome, or No Trespassing carries within its deceptive ingenuousness an acute, potentially revolutionary political charge."
[movie review] |
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Slant Magazine |
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4/4 |
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(1960) |
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"The final close-up—featuring Keiko smiling in lieu of tears—might be frozen, framed, and subtitled "Lady Sings the Blues.""
[movie review] |
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Slant Magazine |
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(1960) |
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"Ascend to the beauties of Mikio Naruse."
[dvd review] |
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Slant Magazine |
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1.5/4 |
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(2005) |
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"After his unjustly underrated Ararat it's frustrating to see Egoyan stumble and fall so far."
[movie review] |
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Slant Magazine |
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2/5 |
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(2009) |
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"There’s an incessant disconnect between what we hear and what we see; the true soulfulness of Sendak’s parable never emerges."
[movie review] |
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Time Out New York |
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2/5 |
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(2009) |
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"Kate Beckinsale is about as convincing a U.S. Marshal as Joan Crawford is a loving mother."
[movie review] |
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Time Out New York |
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2.5/4 |
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(1939) |
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"Something of a warm-up for the director's stylistic and thematic obsessions post-Ginza Cosmetics."
[movie review] |
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Slant Magazine |
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3/4 |
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(1953) |
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"Naruse is a keen observer of the whole spectrum of human behavior, a portraitist who depicts his subjects in all their raw, yet submissive complexity."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(1935) |
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"Wife! Be Like a Rose! has the distinction of being the first Japanese talkie to receive a commercial U.S. release."
[movie review] |
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Slant Magazine |
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3/4 |
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(1956) |
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"...a series of beginnings and endings with the middles cut out."
[movie review] |
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Slant Magazine |
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2/5 |
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"The film slowly loses the sobering toughness of its initial inquiry, and finally comes off as bloodline-biased hagiography."
[movie review] |
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Time Out New York |
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3/6 |
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(2008) |
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"This rather trite visualization is made all the more banal by comparison with the many ravishing images Sorin and cinematographer Julián Apezteguia capture in the movie proper."
[movie review] |
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Time Out New York |
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"An essential addition to both cinema history and any cinephile’s DVD collection."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1962) |
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"One of cinema’s great comedies."
[movie review] |
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Slant Magazine |
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(1929) |
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"3…2…1…blast off with the Woman in the Moon."
[dvd review] |
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Slant Magazine |
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2/4 |
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(2006) |
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"Stone's talents (and his occasional profundity) lie in juxtaposition and bombast, in a breathless, ragged montage."
[movie review] |
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The House Next Door |
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4/4 |
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(1985) |
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"This is more than just Celine and Julie Go Boating's haunted house melodrama played straight."
[movie review] |
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Slant Magazine |
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