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Things We Lost in the Fire represents Danish-born Susanne Bier's first foray into studio-funded American cinema. The transition is seamless - Bier's signature style of simple shots and frequent close-ups remains intact and her choice of material f...

Time and time again throughout Terry Gilliam's career, the director has been forced to endure studio interference. According to executives at some of the companies that have distributed the former Monty Python animator's films, his creative vision...

The Tracey Fragments uses its non-standard visual style, a split-screen approach that can show from one to sixteen frames at any one time, in a vain attempt to camouflage the paucity of the story. Director Bruce McDonald, working from a script by ...

There are moments when True Things, a romantic melodrama about a toxic love affair, almost breaks through. But, in large part because it never coalesces the hazy vagueness surrounding the characters, it doesn't quite get there. The chemistry betwe...

It would be fair to characterize writer/director Paul Schrader as someone who's fascinated by the seamier side of human nature. Some of his best known screenplays, including Taxi Driver and Raging Bull for Martin Scorsese, have plumbed the depths ...

Welcome to the lurid world of Atom Egoyan, B-grade schlock filmmaker. Until seeing Where the Truth Lies, I never would have considered applying this title to Egoyan, the eclectic filmmaker of some of the '90s most compelling features (Exotica and T...

Where the Wild Things Are may be the first family film in recent memory to rely not on narrative or character development but on ideas and the director's vision. The result is an involving experience for all but the most fidgety children and an op...