Each sentence of the source novel becomes a brushstroke. They add up to a masterwork -- one of the finest portraits painted of American unexceptionalism.
Panahi's prior films established the unseen forces who control this art form within Iran. But "Taxi" profiles all the people caught under those forces.
The exacting architecture of De Palma's largest sequences turns the very subject of his films into "sight," and this disc helps us to see how he does it.
By the time this loud, derivative picture is over, you do feel like you've been through a wartime invasion -- of already-familiar wartime spy flicks and cold-war espionage thrillers, that is.
It's a painful and grim piece to watch, but so completely necessary; full credit to Sands for getting all on record before all the people linked to that gruesome part of history have gone.
While the debate over "Stonewall" rages, there's another movie -- quieter and more powerful -- about GLBT equality stalwarts that deserves our respectful attention, and our grateful cheers.
"The Martian" is a sure-fire crowd-pleaser, but it's insistence on playing it safe ultimately makes it a tepid trip to another world.
This film asks critical, timely questions about America's increasingly militarized police forces, but needs to have asked those questions, and made its case, more clearly.
"Partisan" is a chilly, indistinct movie that never quite comes into focus but succeeds at creating a sense of generalized dread.
Here's a love letter film to those who worship bands like Iron Maiden and are obsessed with the "Evil Dead" trilogy.