Two Lovers is the fourth feature from James Gray, whose efforts haven’t been unreservedly praised since his 1994 debut, Little Odessa, and who has been…
Essential to success within the medium of cinema is, of course, a film’s visual character, supplementing and even re-characterizing any narrative core. Jonathan Demme’s recent…
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 their…
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 representation…
After he finished reading Taken’s screenplay for the first time, Liam Neeson can’t have said to himself, “Wow! What a great script! I want to…
When you try to conjure up an image of the holocaust, what comes to mind? Maybe Schindler’s List, The Pianist, The Diary of Anne Frank,…
Notorious gushes with admiration for a man who was unjustly taken from the world way before his time. Writers Reggie Rock Bythewood and Cheo Hodari…
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 to…
Rob Marshall was afforded a great opportunity when handed the reigns to the film adaptation of hit Broadway musical Nine. The play offers a moody…
Stephen Daldry’s new Holocaust picture is the sort of film often released around this time of year; sobering, sweeping and punctuated by swooping violins and…
Call Ari Folman’s Waltz With Bashir — a compendium of recollections and remembrances of an old man (Folman), concerning the massacre of Lebanese citizens in…
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 underground…