The Pale Door, following in the steps of so many horror films these days, spoils a promising premise via a contrived and uneven story line.
It’s entertainment genius to turn our new normal into something topical and terrifying.
While there’s plenty of wistful romance and character-driven conflict to keep Summerland rolling along, the narrative isn’t exactly plausible.
It gradually became clear to me by the mid-’80s that Alan Parker films were, more than those of any other filmmaker, an integral part of my identity as a film lover.
Filmgoers hankering for some excellent and exciting new documentary features and shorts should check out the Salem Film Festival, which has gone online.
What makes this somewhat derivative movie soar is its music.
Relic draws on the debilitations of both time and space: the inevitable aging of the body and the places we call home, the inescapable repositories of memories, regrets, and the unknown.
The Truth is simply a delightful film all around.
Babyteeth is a lovely film, an unusually mature coming-of-age story that juggles restraint and abandon with astonishing ease.
Director Agnieszka Holland deftly presents a vision of genocide that is hard-hitting but never manipulative: the horror pervades the monochrome beauty of snow, skeletal trees, and pale, sunken faces.