We Are Your Friends
Friends shouldn’t let friends pay money to see We Are Your Friends.
Though it's hampered by rather bloodless lead performances, this story of an ageless woman and her two great loves finds its tone in its second half, becoming a sentimental opera about commitment, loss and transcendence.
Russell Crowe's directorial debut, a drama about a man trying to save three sons who disappeared at the battle of Galliipoli, wants to be a mournful antiwar film and a rousing adventure, impulses that don't match well.
While it's amazingly thorough in its choice of subjects, the documentary Misery Loves Comedy is ultimately too fractured to make any one point clearly.
A reposting of Godfrey Cheshire's landmark essay in anticipation of the Critic's Forum at Ebertfest.
This is one of the great modern films about big cities and the mostly unacknowledged psychic toll of living in them.
This is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay's themes.
"The Unloved" series continues with a neglected recent gem by John Carpenter.
Customer service as it should be.
A guide to the 13 reviews chosen to celebrate Roger's work on the two-year anniversary of his passing.
Imagine an "R" rated "Lassie" by way of "Spartacus." That's Kornél Mundruczó's "White God," a brutal but stirring fantasy about street dogs rising up against a cruel and indifferent human society.