Film

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Review: 'The Addiction'

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Vampires go for their PhDs in The Addiction, a horror show that's heady in both senses of the word. Abel Ferrara's maverick entry in the never-dead genre is dramatically surprising, stylishly made in…

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Review: 'La Haine'

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A layered conundrum that builds to a stunning crescendo, Mathieu Kassovitz's Hate is an extremely intelligent take on an idiotic reality: the mutual mistrust, contempt and hatred between the police…

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Review: 'Wild Bill'

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Wild Bill is an art Western that manages to shoot itself in both feet. Walter Hill's third oater represents a case of diminishing returns in the genre for the director, after skillfully taking on…

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Review: 'Priest'

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Priest is an absolutely riveting, made-for-BBC slice-of-life drama that's a controversial look at incest, gay love and the Catholic church. The pic is the first full-length feature from theater and…

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Review: 'Innocent Lies'

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Style almost triumphs over content in Innocent Lies, an arty whodunit-cum-thriller that completely unravels in the third act but has a kind of anything-goes bravura that has to be admired. File this…

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Review: 'The Neon Bible'

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Terence Davies has left his native Liverpool far behind but has retained the themes and style of his two fine British films, Distant Voices Still Lives and The Long Day Closes in The Neon Bible, a…

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