Reviews > Film
Saddle Up for a Bloody Good Ride With ‘The Magnificent Seven’

Antoine Fugua’s re-imagining of the Western classic is a glorious orgy of machismo and mayhem.

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Bloody Revenge Never Looked This Good: ‘The Dressmaker’ Sways and Slays

Kate Winslet paints the town red in this scrambled but wildly entertaining outback folktale.

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Two ‘Women in Love’ Prove to Be a Force to Be Reckoned With

In spite of its somewhat obnoxious characters and episodic narrative structure, Women in Love works incredibly well.

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Ingrid Bergman in Her Own Words

A portrait of a woman who succeeded in the film industry despite playing by her own rules.

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The Ontology of the Story in ‘The Immortal Story’

A story is told, not lived. It's experienced as a sort of opiate, a momentary deferral of lived experience.

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All a Put-On, Man: Six Weird Things About ‘Beyond the Valley of the Dolls’

This story's milieu is a special mythical corner of The Establishment, and yet it's weird as hell.

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‘Snowden’, Screens and Secrets

Cameras and media can increase transparency or magnify performances, security might be a function of privacy or the opposite of freedom.

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The Dreadful ‘Blair Witch’ Casts a Boring Spell

This unnecessary sequel lacks the novelty and ingenuity of its predecessor.

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Jerry Lewis Shines, but the Bloom Is Off ‘Max Rose’

Jerry Lewis slips easily into this curmudgeonly role; he understands bitter sarcasm and stifling silence like he understands a good pratfall.

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A Sensitive Cinematic Look at the Life of a Working Class English Girl

Shelagh Delaney was a rare female voice among the “angry young men” of '50s and '60s British literature, and wrote the play based on her own experiences growing up in Salford.

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Artist Phil Collins Examines How War Is Presented to the Public in ‘how to make a refugee’

Phil Collins examines the consumerist aspects of depicting war in his short film 'how to make a refugee'.

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Artful Conversation in ‘The Return of Rubén Blades’

Like the man himself, The Return of Rubén Blades is proof that art is important, but only a part of living a rich, thoughtful life.

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Clint Eastwood’s ‘Sully’ Belly-flops

Clint Eastwood's latest is riddled with structural flaws and baffling directorial choices.

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Tower Records in a Nutshell: ‘All Things Must Pass’

A nostalgic and warm look at a defunct record chain that brings the real substance and heart of the rise and fall.

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‘Southside With You’ Is Strong on National Character

The Obama Administration is a testament to rising from progressive grassroots politics to The White House, and a small scale indie is an ideal medium for the Obama family’s origin story.

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While the Film Thinks She’s Special, ‘Morgan’ Is Not

A tired almost-trainwreck which borrows so heavily from the past that it's practically an antique.

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‘The Light Between Oceans’ Is Dimmed by Predictable Melodrama

Cianfrance’s adaptation of the popular novel is an agonizing and deathly cold slog in shallow waters.

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‘Complete Unknown’ Deals in Ambiguity and Subtle Charms

Joshua Marston's thoughtful indie drama is delicate, ambiguous, and sublimely frustrating.

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How Mature Can You Get? ‘Wild in the Streets’

Barry Shear's film is a jaundiced look at politics, youth culture, and everything in the air of 1968.

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Indie Horror Meets World Cinema in the Cult ‘Carnival of Souls’

With its distinctive atmosphere and cryptic mysteries, Herk Harvey's sole feature film is an unparalleled classic of cult horror.

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In Defense of the Infinite Universe in 'No Man's Sky'

// Moving Pixels

"The common cries of disappointment that surround No Man’s Sky stem from the exciting idea of an infinite universe clashing with the harsh reality of an infinite universe.

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