In its examination of issues of multiculturalism, The Emerald Forest continues to acquaint complacent Americans to troubling geopolitical issues 30 years after its release.
Ralph Fiennes holds civilization together with little more than his impeccable manners and mustache in Wes Anderson’s absurdist dollhouse of a tragicomedy.
Robert Altman's '70s noir is a terrific, sad, and mischievous movie.
Because of its unjustified snubbing, Selma and the artists involve now face an uphill battle in the movie industry they never should have to face.
Over the next 12 months, we will be bombarded with all manner of proposed cinematic spectacle. Here are the 20 films we are most looking forward to.
Starting today at PopMatters, "Double Take" does for film what "Counterbalance" does for music. Film geeks Steve Leftridge and Steve Pick regularly examine the "500 Greatest Films Ever Made".
This subpar spaghetti western struggles to keep the magic of Robert Louis Stevenson's classic novel alive.
This entry in the '50s noir cycle is an exercise in paranoia from a woman's point of view.
Tom Hardy’s visceral performance in this one-man meltdown packs more drama than a half-dozen multi-character stories.
No amount of melodramatic hysteria or Ella Fitzgerald's singing can save Pete Kelly's Blues from its bland angle on its subject.