There is hardly a moment in this film in which you are not aware that its absurdist view of the human condition was shaped by traumatic 20th-century events.
“Sukiyaki Western Django” is a loving and lurid pastiche of the spaghetti westerns that were themselves lurid pastiches of classic Hollywood cowboy pictures.
What raises this uninhibited hybrid above C level is a director, Alejandro Springall, with a flair for the surreal and a cast that knows its way around a stereotype.
In the past the Toronto International Film Festival helped to set up Hollywood’s awards season. This year it may be more about solving the industry’s problems.
Disney has put together a marketing campaign using Pinocchio and Snow White to accelerate consumer adoption of next-generation DVD technology and boost sales.
“Traitor,” a somber, absorbing and only moderately preposterous new thriller written and directed by Jeffrey Nachmanoff, manages an impressive feat of economy.
A look at 10 of the best art films this summer, several of which portray an unjust world in which ordinary people are at the mercy of the rich and powerful.
In the civil rights documentary “Dare Not Walk Alone,” director Jeremy Dean makes a valiant attempt to juxtapose past and present, but his execution is so muddled it’s almost unwatchable.
Watching Rainn Wilson gyrate in “The Rocker,” you can’t help wondering if Mr. Wilson is inhabiting a role that was originally turned down by Jack Black.
The dark heroes of Warner Brothers’ “Watchmen,” set for release next March, have a new problem on their hands: A federal judge has ruled that they may belong to 20th Century Fox.
Two harsh but hauntingly beautiful fables — “Wings,” released in 1966, and “The Ascent,” from 1977 — are the best-known films of the director Larisa Shepitko.
“Tropic Thunder” took in an estimated $26 million at the weekend box office, knocking “The Dark Knight” out of the No. 1 spot after an extraordinary monthlong run on top.
“Bachna Ae Haseeno” grows more serious and interesting as it contemplates the various permutations of romance in a culture with rapidly changing sexual mores.
The head of Metro-Goldwyn-Mayer Studios says he wants Tom Cruise to remain closely involved with United Artists after the departure of Paula Wagner, a friend of Mr. Cruise.
With characters named Esperanza, Dawn and Patience, “Henry Poole Is Here” traffics in the kind of inspirational kitsch that only a true believer could swallow.
“Fly Me to the Moon” bills itself as the first animated feature created expressly for 3-D. Too bad it wasn’t created expressly for, you know, pleasure or art.
Paula Wagner is in talks to leave as chief executive of United Artists, less than two years after spearheading an effort to revive the studio with her partner, Tom Cruise.
Azazel Jacobs’s “Momma’s Man,” a film about a grown son’s homecoming, is also a literal home movie, starring his own parents and shot in the loft where he grew up.
Infuriated by hard-line tactics used by SAG leaders in contract talks with studios, a less militant collection of actors has started a campaign to take over the guild.
“Hell Ride,” a silly slice of genre gone bad, takes place in an American desert populated by middle-aged bikers and the nubile, often topless young women who love them.
“Elegy” is such a serious, oftentimes grave exploration of desire and the ways of aging that it’s a miracle the two central characters have as much sex as they do.
“Passing Poston” recollects one of the most shameful episodes in United States history: the forced internment of American citizens of Japanese descent during World War II.
This is the movie equivalent of being patted on the shoulder by an encouraging high school guidance counselor and assured that you are doing just fine.
Now that Quentin Tarantino’s remake of the 1978 action film, “The Inglorious Bastards,” may finally be produced, a three-disc edition of the original comes to DVD.