Only marginally boosted by an aesthetic that never cuts the camera.
Real and virtual worlds collide, but result falls fairly short of paradise in this junky genre pic.
A well-crafted, immensely indecent smut slasher that reps a daresay "respectable" go at the genre.
2016-2017 Oscar Predictions
Jorge Michel Grau's "We Are What We Are" reps a skillfully mannered genre-bender that tackles the queasy subject of cannibalism.
A wryly observed sophomore dramedy from scribe-helmer Marc Fitoussi ("La Vie d'artiste").
"The Grudge" series helmer Takashi Shimizu's "The Shock Labyrinth" has a lot more schlock than shock.
At 101 years old and counting, Portuguese filmmaker Manoel de Oliveira has clearly broken a few records.
Van Damme is back yet again, this time on both sides of the camera as well as in the editing suite.
"The Names of Love" can be called many names, but "conventional" definitely isn't one of them.
Loaded with energy and occasional pleasantries, yet too diffuse to make a lasting impression.
Jacques Doillon reaches new heights of faux-kinky gobbledygook in this low-budget chamber piece.