The Deep End (review)

But cast Tilda Swinton in the role of, as she is offhandedly referred to by a bit player here, “somebody’s mom,” and all of a sudden you’ve got a story about domestic discord that is compulsively watchable.

Memento (review)

So I leave the screening room, in awe at Nolan’s achievement, a young writer/director coming out of nowhere with a film that is bold enough not only to mess with our minds by redefining our understanding of how time flows onscreen but also has the audacity to use that radical storytelling conceit to question what it is that makes us human.

Double Indemnity (review)

In the wee hours of July 16, 1938, an insurance salesman Walter Neff sits down at a dictation machine in the offices of Pacific All-Risk in Los Angeles to record a confession. That guy Dietrichson, who died mysteriously? Neff killed him.

Snatch (review)

Promising but a little unsteady on his feet with his first film, Lock, Stock and Two Smoking Barrels, writer/director Ritchie has graduated, with Snatch, to full-fledged cool-ass dude and filmmaker to watch out for.

O Brother, Where Art Thou? (review)

So what the Coens did with O Brother, Where Art Thou? is this: They transported Homer’s epic poem The Odyssey to this filmic otherworld of theirs, turning what is perhaps the original on-the-road story into a Depression-era fantasia that wants more for you to recognize the clever fun they’re having with filmmaking conventions of the 1930s than whether you know the least thing about ancient literature.