In four unrelated chapters “A Touch of Sin” tells the [...]

Stasis is ignorance and mobility is enlightenment in T.C. Johnstone's "Rising From Ashes," a documentary about the Rwandan Olympic cycling team which uses the wheel of the bicycle as a metaphor for the way we live, learn, grow and co-exist amidst individual and systemic horrors.

The team's coach, cycling legend Jonathan Boyer (referred to throughout as "Jock"), knows much about how to win a race before being called on to move to Rwanda

In “Nebraska” Omaha-born director Alexander Payne is right back where he belongs. His last film, “The Descendants,” (REVIEW) aimed to capture the secret turmoil of seemingly-zen Hawaiians—misery in paradise—but it registered more like picture-perfect George Clooney sulking through a picture-perfect vacation. Even at its most poignant, the tropical setting made the pathos feel forced. Here, the desolation of the surroundings

PARIS - Abdellatif Kechiche’s new film is well-made, possibly deserving its Palme d’Or at the last Cannes Film Festival, but It. Is. Too. Long. The first hour is breathtaking in its precise description of Adèle (played by the remarkable Adèle Exarchopoulos--PROFILE), adrift in adolescent yearnings and not having found her foothold in the real world, who becomes conscious of her attraction to women especially after she

Among movies about race in America, how many great films have been made about slavery? We’ve seen gentle drivers ("Driving Miss Daisy"), sisterhoods of maids ("The Help") and pizza places going up in smoke for our sins ("Do the Right Thing"). Most of these films focus on the sixties or the modern day. Even Lincoln barely touches on slavery as more than legal theory.

This enormous gap

Never has there been a story of more woe than Carlo Carlei’s lukewarm adaptation of "Romeo and Juliet," that most eminent of romantic tragedies. The problem with this film adaptation is that it is about as romantic as a bad date and the acting performances are worthy of a pre-Glee high-school production.

Bringing the star-crossed lovers to life––or

To say that critics have not been kind to Shane Salerno’s “Salinger” is an understatement. They call it subjective to the point of hagiography, bloated and overlong, the ultimate intrusion in the life of an author who lived on the equivalent of a mountaintop in order to be left alone by the myriad fans enthralled for the last two generations by his single book, “The Catcher in the Rye.” They say the music is syrupy