No one comes out of the closet in The Little Sister, but it’s still a kind of coming-out story.
A curious movie about a curious little girl, Renoir introduces its 11-year-old heroine as she watches home videos of crying babies.
To one degree or another, every revenge movie is about the futility of revenge. (Every good one, at least.)
The Sheep Detectives is, beautifully and absurdly, both a heartfelt meditation on the meaning of life and the story of talking sheep who solve a mystery.
Trees are inherently cinematic; they’re also innately philosophical.
Alongside the likes of hogwash and codswallop, hokum is among the better synonyms for nonsense.
Two Seasons, Two Strangers begins as all movies do: on a blank page.
There’s a reason it’s called Exit 8 rather than Exit 1, 5, or any other number.
Fiume O Morte! begins with a history lesson.
Progress comes at a price.
It isn’t until nearly 45 minutes into Two Prosecutors that one of the eponymous lawyers is allowed to meet with his client.
Project Hail Mary good, question?
