The Band’s cover of Bob Dylan’s “When I Paint My Masterpiece” plays during the opening sequence of Jody Hill’s new black comedy, Observe and…
Cary Joji Fukunaga’s Sin Nombre bests its Disneyfied cousin Slumdog Millionaire in nearly every way. Whereas Danny Boyle’s film is frenetically shot, frantically paced,…
Following 2006’s Half Nelson, a convincing depiction of friendship between a 13-year-old and her crack-addict teacher (a role which Ryan Gosling won an Academy…
Many of cinema’s most divisive filmmakers are accused of betraying the story they’re trying to tell by utilizing various stylistic affectations. Of course, this…
Amy Adams is quite an actress. Excluding her forgettable role as the middle-nun in Doubt last year, Adams has turned in consistently compelling and…
Everlasting it may not be, but, at 131 minutes, Jan Troell’s new Swedish melodrama isn’t exactly short. It plods, and it does so while…
The International, the new thriller from director Tom Tykwer, could have been dismissed as an easy knee-jerk reaction to our current economic crisis, but…
In Paul McGuigan’s dopey superhero techno-thriller, Push, the Asian mob bad guys’ superpower is screaming really loud. They would best be called “screamers,” but…
Awarded the Palm D’or at this year’s Cannes Film Festival, Laurent Cantet’s fluid and free-form drama, The Class, commits itself to the natural, unaffected…
Thor Freudenthal’s Hotel For Dogs, based very loosely on a 1971 children’s book of the same name, succeeds at doing exactly what it wants…
Call Ari Folman’s Waltz With Bashir — a compendium of recollections and remembrances of an old man (Folman), concerning the massacre of Lebanese citizens…
David Fincher has always enjoyed taking on pretty extreme, often ambitious projects. He adapted Chuck Palahniuk’s novel Fight Club, a mind-bending thriller about secret…
What Woody Allen just doesn’t seem to get anymore — overlooking the fact that his dialog is basically paraphrased versions of the same stuff…