Art critic Ben Lewis explores the falling art market in his illuminating and deliberately bullheaded docu.
A very likable though not even remotely original gay crowdpleaser.
Today, nobody thinks twice about film school as a path to directing, but Jay Cocks remembers a time when the very idea of teaching such a trade seemed preposterous, even risible.
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Classics such as "This Is Spinal Tap" and "A Hard Day's Night" seem almost quaint by comparison with the narrative tricks featured in such 2009 films as "The Hurt Locker" and "District 9."
The addition of a simple birthday balloon makes a scene that was tense enough to begin with in "Brothers" into a rare sort of dramatic confrontation.
For the sequence in "Avatar" most similar in sheer jaw-dropping spectacle to the sinking of the RMS Titanic, look no further than the destruction of Hometree.
After blowing up the White House in "Independence Day" and flooding New York in "The Day After Tomorrow," Roland Emmerich manages to top his earlier disaster scenarios in "2012."
"Nobody to Watch Over Me" is a hard-to-swallow social critique delivered in the guise of a taut protective-custody thriller.
Such predictable pap is generally better suited for romance novels or Lifetime movies.
Caught somewhere between 1940s film noir and digitally spiffy contempo fare, "Yesterday Was a Lie" toys with time in story and style.