Watch in the serene knowledge that nothing too awful will happen to these beloved characters, nothing too life-altering, just a few annoyances along the way to a relatively happy ending.
The film is widely considered to be an early and key example of “cinema du look,” an undeclared movement that emphasized reckless youth, high and low culture, and vibrant, eye-popping imagery.
Director Terry Zwigoff and his fellow screenwriter Daniel Clowes (who wrote the graphic novel on which the movie is based) hit on so many moments of truth, such as how teens subtly one up each other to see who can say the most offensive or dismissive comment, and how a young person can play a favorite song over and over again.
As with most of the Spanish director’s work, a 1972 film enjoying a revival at the Film Forum winningly ridicules institutions and social hypocrisies.
In “Emily the Criminal,” Ms. Plaza’s wide, impatient, searching eyes approach Bette Davis-level expressiveness.
The film is a universal paean to the healing powers of nature, specifically the landscape of the western United States, and a stirring filmic short story of grief and loneliness, love and loss.
Director Roger Mitchell, who died last year, employs an irreverent tone similar to some of fellow countryman Stephen Frears’s films.
A death sequence on a seedy LA street is one of the most debased and yet most human scenes Lynch has ever filmed.
Adrian Lyne is now in his 80s, but he’s able to generate some sparks and unease between Ben Affleck and the new “It” girl, Ana de Armas.