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  • Reality (R)

    Matteo Garrone follows his crime epic Gomorrah (2008) with a comedy about reality TV, and though it hardly rivals the earlier movie in its social complexity, it still offers the spectacle of a vibrant and vividly realized Neapolitan neighborhood. more...
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  • The Road (R)

    John Hillcoat, who made a name for himself with the leathery Australian western The Proposition (2005), takes on the daunting task of adapting Cormac McCarthy's bleak novel about a man and his son trying to survive in a postapocalyptic U.S. Portrayed ad infinitum in sci-fi and fantasy, the postapocalypse may now seem about as scary as Post Raisin Bran, but Hillcoat gives it an unnerving solidity by focusing on the drab details of survival and linking them to the more hellish aspects of modern American life. more...
  • The Royal Tenenbaums (R)

    Wes Anderson's 2001 follow-up to Rushmore is a solid piece of entertainment in the same general mode, though disappointing insofar as it moves the earlier film's stylistic freshness into a kind of formula, increasing the overall cuteness while reducing the sense of adolescent despair. more...
  • Repo Man (R)

    Alex Cox's 1984 punk comedy is set in a rotting Los Angeles, where a disaffected adolescent (Emilio Estevez) finds an outlet for his aggression and an answer to his boredom in an apprenticeship with a professional car repossessor (Harry Dean Stanton). more...
  • Rosemary's Baby (R)

    The treacherous-mate theme that has been a staple of "women's pictures" since Gaslight gets its ultimate, most agonizing development in this 1968 story about a young woman (Mia Farrow) who discovers her husband has sold her body for use by a witches' coven. more...