Kyle says: “ENTER THE DANGEROUS MIND, also known confusingly by its working title and alternate Netflix listing as SNAP, is an attempt at a psychological thriller based on a variation of the Faust story. Except this Mephistopheles avatar seems unclear
Jason says: “There are a lot of things that can be done with David Lipsky’s interview of David Foster Wallace, and I don’t think that a movie is at the top of the list. The magazine article it was originally
Chris says: “Nothing in the colorful, florid opening scene, set at an opera performance in postwar Cuba suggests that the bulk of ELEPHANT SONG will unfold at a visually drab, wintry mental hospital in mid-1960s Canada. Similarly, little in the
Jason says: “There is much more to the life of Euphemia ‘Effie’ Gray than the film bearing her name presents; it limits itself to what are likely the three worst years of her life and maintains so tight a focus
Jason says: “Maude Michaud’s DYS- looks to be on the path to dystopia as it starts, but as with many stories that start with an outbreak, that turns out to be the background for some intense dysfunction. It’s the sort
Jason says: “It’s tempting to interpret the characters’ behavior in THE DUKE OF BURGUNDY in terms of closets and shame; it’s sort of the default for this period and would probably be a fascinating way to play it. Peter Strickland
Chris says: “I’ve seen enough coming-of-age films to contribute to a Chlotrudis poll about them, but I’ve seen nothing quite like THE DIARY OF A TEENAGE GIRL: funny, intense and sexually graphic in equal measures, it’s also a period piece,
Jason says: “The very first scene of DEVIL AND ANGEL makes it clear what sort of broad comedy it’s going to be, and it’s a pretty dumb one. And it’s not a dumb comedy that is secretly kind of clever;
Jason says: “This movie has an exclamation point in its title, and putting that together with it being from India yields a certain set of expectations – something flashy that jumps from tone to tone, at least some of them
Thom says: “Here’s another free ticket I nabbed to the annual San Francisco LGBT Film Festival. This was yet again a documentary entry and once more it shows that as I’m getting older it’s just as difficult being objective as
Jason says: “I skipped DEATHGASM at Independent Film Festival Boston figuring it would play Fantasia while other things on the IFFBoston schedule might not otherwise play theaters, and the gambit paid off. Not just because the movie played, but also
Jason says: “Even the biggest zombie movies tend to be pretty simple things, and I wouldn’t necessarily say DEADMAN INFERNO (aka Z ISLAND) was exactly complicated. It does have a fair amount more going on than is typical for this
Kyle says: “THE DEAD LANDS is a tale of an ancient Maori tribe which is virtually wiped out by a band of treacherous, lying, spiritually desolate villains who are pursued by the dead chief’s handsome teenage son seeking revenge. Hongi
Jason says: “I’m mildly curious how big a part a secondary character had in the original book; after an amusing introduction (and fairly high billing), he gets streamlined right in the background. It’s the right choice – this is a
Jason says: “There was talk fairly close to its release about THE DANISH GIRL being nearly three hours long, although that turned out to be a working print and the actual finished film is a more standard two. With the
Kyle says: “I respectfully disagree with Spike Lee, who claims DA SWEET BLOOD OF JESUS is not a vampire movie. It may lack traditional traits such as fangs and claws, snarling and biting, garlic and mirrors, but Dr. Green subsists
Cymbeline (USA; 98 min.) directed by: Michael Almereydastarring: Ethan Hawke, Ed Harris, Milla Jovovich, John Leguizamo, Penn Badgley, Dakota Johnson Kyle says: “This is a contemporary film adaptation of a play by William Shakespeare. Such versions are plentiful and often
Jason says: “Science fiction films about a man on a quest in a post-collapse wasteland are so far from uncommon that entries in the subgenre need something truly special in order to stand out from a low-budget haze of deserts,
Cruel (France; 108 min.) directed by: Eric Cherrièrestarring: Jean-Jacques Lelté; Magali Moreau; Maurice Poli; Yves Afonso Jason says: “The almost-banal serial killer isn’t quite a staple of crime fiction but it’s not exactly uncommon, either, likely in part because the
Jason says: “Two animated features from the Korean Academy of Film Arts played the festival this year, and there’s enough underlying similarities to make a viewer joke about them coming from the same class assignment or, more seriously, ponder how