Movie Review | 'Inland Empire': The Trippy Dream Factory of David Lynch
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David Lynch's extraordinary, savagely uncompromised new film is as cracked as Mad magazine, though generally more difficult to parse.
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The ghost of 1970s Argentina haunts 1980s Texas in this perceptive and beautifully acted drama from the Argentine director Julia Solomonoff.
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Director Ridley Scott's original vision for the groundbreaking sci-fi flick comes out in a baffling array of DVD sets. Luckily, they all capture a bleak future in which uppity androids get popped for becoming self-aware (and there's no narration to kill the mood).
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It has been well recorded that the mid-nineties are best known for sudden popularity of independent cinema, but independent from what? The term "indie" is as slippery when applied to films as it is to music. The studio at the vanguard of this "revolution" was Miramax, which was long a subsidiary of Disney, and as for the "revolution" itself, it unleashed more painful and derivative Pulp Fiction clones than it did anything truly revolutionary. It was bled dry, turned inside out, repackaged, and sold back to the masses until it became the paradigm of unhipness. This seems to be the nature of all revolutions, from the Soviets to the Sixties; the bullshit always comes full circle.     While it's easy to be cynical of all so-called revolutions in hindsight, what one can't be cynical about is the intense enthusiasm audiences had for the so-called independent cinema of this era. To every person who ever dreamed of being in the director's chair, it seemed like all one needed to have the new hit movie was a vast knowledge of pop culture, the ability to write pages worth of rambling dialogue, and a Visa card.
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Documentarian Morgan  Neville has fashioned a spirited riposte to the groundless  cliche that Los Angeles is a cultural wasteland.
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Zhang Yimou&#39;s &#39;&#39;House of Flying Daggers&quot; is, hands down, the most visually ravishing movie of the year. It has sequences of balletic martial arts action that can
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What is it like to glimpse into the mind of moviemaker David Lynch? A new exhibition in Paris shows that it is every bit as twisted as a true fan could imagine.
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Whether you dig âLynch,â a feature-length video visit with the director David Lynch, will largely depend on your views of his work.
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Kevin Macdonald's queasily enjoyable fiction film creates a portrait of the Ugandan dictator Idi Amin from inside the palace walls.
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For a filmmaker who has built his career on the cutting edge of controversy, Oliver Stone delivers a surprisingly conventional take on Alexander the Great.
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It&#39;s unlikely that anyone would have made a movie such as Ladder 49 before the Sept. 11 terrorist attacks. Rather than piling on special effects, this down-to-earth
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If there were more experimental films as entertaining as this Hollywood ghost story, the notion of a thriving avant-garde cinema might not be so intimidating to the moviegoing public.
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The production of the original Star Wars was a disaster. But as the riveting documentary Empire of Dreams shows, underdog director George Lucas somehow pulled it off, which makes you appreciate the trilogy even more. A review by Jason Silverman.
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David Bolinsky's animated journey through a white blood cell is a surprise hit. Even The Matrix's Wachowski brothers are calling. Wired News interview by Kim Zetter.
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âWristcutters: A Love Storyâ has an offbeat, absurdist charm that turns a potentially creepy conceit into an odd, touching adventure.
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Tycho:  "Live Free Or Die Hard" is a movie where a man drives a car into a helicopter, and that may be all one needs to know about it.  For some reason, regardless of what is present in the strip, I found myself quite able to place my brain in neutral and roll down the film's gentle, sloping grade.  I thought that Gabriel would be proud that I had done so, but he was not.  He held the film to some higher standard, and on a very specific topic - its presentation of technology and technology culture.  I know, right? Look out your window; there's probably frogs and blood and shit.
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Despite its rich veins of inquiry, the installation, which invites viewers to enter David Lynchâs film, feels sterile and flat.