Propelled by geysers of blood and tidal waves of neuroses, “Tokyo Gore Police” plumbs wounds both cultural and physical to deliver splatterific social satire.
Like a trompe l’oeil painting, “Boogie Man: The Lee Atwater Story” deftly positions its subject as both the savior of the Republican Party and the Antichrist of American politics.
Had Jorge Ameer, the writer and director of “The House of Adam,” aimed for high-flying camp instead of low-rent earnestness, his movie might have stood a chance.
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 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.
“Kit Kittredge: An American Girl” appears poised to incite the kind of box-office frenzy more commonly associated with characters named Hannah and Harry.
Deceptively simple and threaded with gentle humor, “Mukhsin” paints the turmoil of puppy love on a canvas of family relationships as delightful as it is believable.
A women-behind-bars plot seething with lesbianism, incest, hanging and catfights — on paper, at least, “Four Minutes” promises more fun than a Roger Corman marathon.
A women-behind-bars plot seething with lesbianism, incest, hanging and catfights — on paper, at least, “Four Minutes” promises more fun than a Roger Corman marathon.
A women-behind-bars plot seething with lesbianism, incest, hanging and catfights — on paper, at least, “Four Minutes” promises more fun than a Roger Corman marathon.
A hair’s breadth from hagiography, Scott Hicks’s “Glass: A Portrait of Philip in Twelve Parts” is much like its subject: affable, quotable and emotionally guarded in the extreme.
A hair’s breadth from hagiography, Scott Hicks’s “Glass: A Portrait of Philip in Twelve Parts” is much like its subject: affable, quotable and emotionally guarded in the extreme.
A hair’s breadth from hagiography, Scott Hicks’s “Glass: A Portrait of Philip in Twelve Parts” is much like its subject: affable, quotable and emotionally guarded in the extreme.
One of the sleaziest documentaries to arrive in a very long time, “Expelled: No Intelligence Allowed” is a conspiracy-theory rant masquerading as investigative inquiry.
One of the sleaziest documentaries to arrive in a very long time, “Expelled: No Intelligence Allowed” is a conspiracy-theory rant masquerading as investigative inquiry.
One of the sleaziest documentaries to arrive in a very long time, “Expelled: No Intelligence Allowed” is a conspiracy-theory rant masquerading as investigative inquiry.