Impressive as is Wilson's output and oeuvre, it's the fully-engaged, aesthetically driven life that fascinates. And Otto-Bernstein's movie is a portrait of an artist at his most essential, in every sense.
Volver is just as funny as "What Have I Done," but it's also more sanguine and complex. Its humor is brighter and loopier, more a function of the characters' indomitable spirit than of their terminal despair.
If Linklater regards the fake culture that has replaced real places with horror, he has nothing but respect and affection for his characters, and the movie is rescued from nihilism by his humanistic view.
2 Days in Paris is pure Julie Delpy, figuratively and otherwise. Since first becoming known to American audiences in the early '90s, she's revealed herself to be an artist of sundry and unexpected talents, with a distinctive voice and point of view.
Expertly realized and gunmetal slick, Eastern Promises whirs along with perfect efficiency, but doesn't stir much in the way of visceral horror despite its penchant for treating the human body like a chicken carcass on a block. (Squeamishness, yes.)
The India of the movie is more an idea than a reality...Exotic, spiritual and, according to Peter Whitman (Adrien Brody), "spicy"-smelling, it's a magical mystery place where wayward foreigners can go to get their souls back on track.
The film is a rigorously thorough biography and an impassioned accolade. Temple spends as much time on Strummer's life before and after the Clash as he does charting the band's powerful musical and political influence.
It's not entirely surprising that Burton's Sweeney Todd feels heavier on style than on substance -- so much that the style almost subverts the story. Still, it's a gorgeous artifact and pretty enjoyable in all.
A cynic is someone who knows the price of everything and the value of nothing, or so the saying goes, but the unadulterated joy Irène takes in throwing open the closet door to show Jean how this gold digging is done is positively infectious.
Good Dick carries its messed-up, highly improbable premise so lightly and gracefully that it ultimately comes off as a sweet, plausible and curiously grounded love story -- and touchingly old-fashioned.