 |
|
|
|
|
|
|
|
|
|
|
|
| |
4/5 |
|
(2009) |
|
"Animation is so often used for frivolous flights of fancy that it’s something of a shock to see it employed in the service of a tale that emphasizes human foible and mortality."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
5/5 |
|
(1971) |
|
"As infamous serial murderer John Reginald Christie, Richard Attenborough is just exaggerated enough to remain credible."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
1.5/4 |
|
(2006) |
|
"Based on the contrivance-heavy screenplay and Cuesta's Six Feet Under-tutelaged direction, you'd think the filmmakers just got off the boat from Eden and found themselves in the cities of the plain."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
4/6 |
|
(2009) |
|
"Jia is one of the guiding lights of the sixth generation of Chinese filmmakers, and 24 City is a potent exploration of his constant theme -- the tectonic shifts that occur as the old gives way to the new."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
|
|
(2008) |
|
"Strange to long for the humorous undercurrents of the no less despondent Lazarescu and Bucharest, but perhaps making sense of the red specter requires just such a penetrating mix of solemnity and absurdity."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
4/4 |
|
(2005) |
|
"7 Women is, in actuality, a great film whose potboiler plot masks an incisive inquiry into the battle of the sexes."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"Save the voice work, which is celebrity-heavy and mostly undistinguished, 9 is a marvel to take in, especially the individual character designs."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
3/4 |
|
(2005) |
|
"The sex scenes are clearly filmed with progression in mind, moving ever outward from the characters until their organs take center stage."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
3/4 |
|
(2002) |
|
"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] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2002) |
|
"An engrossing, if flawed, first step into the digital world from a cinema master."
[dvd review] |
|
Slant Magazine |
|
|
|
|
| |
2/5 |
|
(2009) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
|
|
(2008) |
|
"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] |
|
UGO |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
2/6 |
|
(2009) |
|
"The time-jumping narrative and self-consciously somnambulant mood undermine the writer-director’s zeitgeist-inspired thesis."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
.5/4 |
|
(2004) |
|
"The John Wayne Gacy of films."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
2/4 |
|
(1975) |
|
"Suffice to say that Elem Klimov's biopic of the mad monk Grigori Rasputin more than lives up to its title."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2004) |
|
"A heartfelt human testament from one of our greatest directors."
[dvd review] |
|
Slant Magazine |
|
|
|
|
| |
3.5/4 |
|
(2004) |
|
"As if in answer to Haiti's continuing cycle of violence, [Jonathan] Demme proposes through [Jean] Dominique a new cycle of hope."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2007) |
|
"Godliness, so The Air I Breathe finally tells us, is all about the Benjamins."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
.5/4 |
|
(2004) |
|
"The Alamo is further, sobering proof that every dog(gerel) has its day and every generation gets the movie it deserves."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
5/5 |
|
(1974) |
|
"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] |
|
ToxicUniverse.com |
|
|
|
|
| |
6/6 |
|
(1979) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
3/5 |
|
(2003) |
|
"This then is David Gordon Green's cinema - messy, frustrating, and fascinating, an ever-growing process towards something unknown."
[movie review] |
|
ToxicUniverse.com |
|
|
|
|
| |
2/5 |
|
(2009) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
|
|
(1970) |
|
"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] |
|
The House Next Door |
|
|
|
|
| |
|
|
(2008) |
|
"A blatantly direct pastiche of The Breakfast Club, if not The Texas Chainsaw Massacre Part 2."
[movie review] |
|
UGO |
|
|
|
|
| |
2/5 |
|
(2009) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
3/6 |
|
(2009) |
|
"How dark the con of Ron that he can so vividly simulate thought in what is truly an intellect-free enterprise."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
4/4 |
|
(1958) |
|
"Naruse examines his own faults and fears through Ryokichi, though he also considers the reverberating effects of the character's actions."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
2.5/4 |
|
(1933) |
|
"Apart from You is finally all frustrated anticipation."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2008) |
|
"The various symbols never coalesce into metaphor so much as they stand stagnant and hollow at the edges of the frame."
[movie review] |
|
UGO |
|
|
|
|
| |
|
|
(2007) |
|
"It's the minor details that impress more than the high falutin' ones."
[dvd review] |
|
UGO |
|
|
|
|
| |
3.5/4 |
|
(1960) |
|
"In tenor, The Approach of Autumn recalls the stark, light-touch despondency of Morris Engel's Little Fugitive."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
4/5 |
|
(2002) |
|
"Egoyan uses the inherent falseness of movies ... to achieve a truth his own."
[movie review] |
|
ToxicUniverse.com |
|
|
|
|
| |
1/5 |
|
(2009) |
|
"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] |
|
Time Out New York |
|
|
|
|
| |
2/4 |
|
(2005) |
|
"How long can one man piggyback on the success of Chinatown? The beat goes on..."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
|
|
(2008) |
|
""Dutiful" might be the best term to describe Assembly, as it never rises above a general competence of vision."
[movie review] |
|
UGO |
|
|
|
|
| |
2/4 |
|
(2009) |
|
"It's a product of a dangerous sort of tunnel vision that afflicts a number of documentarians these days."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
3/4 |
|
(2006) |
|
"August Days seems a profound amalgam of all the versions of this story that could ever be told."
[movie review] |
|
Slant Magazine |
|
|
|
|
| |
2/6 |
|
(2009) |
|
"Away We Go in brief: the endless promise of profundity trampled by dime-store psychologizing."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
3/5 |
|
(2009) |
|
"Cage is not quite Aguirre or Fitzcarraldo in the Big Easy. But his performance hits all the right mythopoetic beats, rising above the thin script and late-night-cable aesthetic."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
|
|
(2008) |
|
"An extended navel gaze."
[movie review] |
|
UGO |
|
|
|
|
| |
1.5/5 |
|
(2001) |
|
"Bandits' most intriguing plot line, the three-way love story, merely hints at the complexity of a two-man/one-woman relationship and never moves past the initial stages of cuteness and adolescent eroticism."
[movie review] |
|
ToxicUniverse.com |
|
|
|
|
| |
|
|
(1950) |
|
"The Baron of Arizona (1950) is all thumbs, as much a forgery as the one perpetrated by its protagonist James Addison Reavis (Vincent Price)."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
|
|
(2009) |
|
"A feather-light trifle."
[movie review] |
|
UGO |
|
|
|
|
| |
|
|
(2007) |
|
"Character psychology is as specious as in the Schwarzenegger canon."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
2/6 |
|
(2009) |
|
"Doe-eyed earnestness dulls every edge, and Eden-like naïveté reigns supreme."
[movie review] |
|
Time Out New York |
|
|
|
|
| |
|
|
(2008) |
|
"[Jacques] Nolot writes, directs, and stars as Pierre Pruez, an HIV-positive bottom boy-no-longer who navigates his ruined life and beauty with aplomb."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
|
|
(2006) |
|
"Drains all the mystery out of a masterpiece."
[movie review] |
|
The House Next Door |
|
|
|
|
| |
3/4 |
|
(2006) |
|
"This version of Nyreröd's efforts tends to focus on the more familiar touchstones of Bergman's career, though it does go significantly in-depth on the guilt he feels over his many failures as a husband and a father."
[movie review] |
|
Slant Magazine |
|
|
