Neil LaBute delivers an initially engaging but eventually eye-rolling spectacle showcasing his unique brand of sexual anxiety.

Ever since Hitchcock marooned several disparate characters in a lifeboat, movies have thrived on confined spaces.

A heinous act from the past proves so monstrous that the film moves into the realm of metaphor.

Appearing in a couple of devilish masks, the normally sympathetic Hawke is transformed into a looming figure of pure evil.

From the outset, director Gaspar Noé prepares his audience for a meditation on the agonies of art-making

Creeping underneath the surface eccentricities are anxious, philosophically loaded questions about compassion, individuality, and the nasty, brutish shortness of life

The story, while based on an actual 8th-century prophet, functions metaphorically as a picture of God’s grace toward a sinful, wayward people

In a bit of Coen-esque mischief, there is nary a Scottish actor among the principals

As a filmmaker, Sorrentino isn’t a mystic like Terrence Malick, nor is he a blasphemer or a crank

The elegantly suspenseful scenario is put together with the care and beauty of a spider’s web