Terrence Malick had a fluid naturalism in his debut feature, a loose dramatization of the Charles Starkweather-Caril Anne Fugate killing spree of the late 1950s. This is largely another of Malick’s impressionistic tales of paradise lost, but here the dreamy approach feels fresh and exciting. As it follows Starkweather/Fugate stand-ins Kit (Martin Sheen) and Holly

It’s hard to describe The Thin Red Line, the return of Terrence Malick to directing after a 20-year absence, as anything but exquisitely beautiful, despite the fact that it largely traces the awful violence experienced and perpetuated by a band of American soldiers on the Pacific island of Guadalcanal during World War II. This is

Camille, in which Greta Garbo plays a society woman on the prowl for a rich husband in 1847 Paris, features a parade of jewel-bedecked gowns, yet when director George Cukor cuts to a close-up of his star, everything else fades. In medium or long shot Garbo is your average actress – even, at certain angles,

The career-capping personal epic of hard-boiled director Samuel Fuller (Shock Corridor). From his pitiless crime dramas of the 1950s and ’60s on, Fuller operated a camera that never blinked, never prettied, never judged. He brings that same circumspect tone to this World War II picture, even though much of it is drawn from his own