Jason says: “There have generally been one or two movies like SONG OF THE SEA among the nominees every year since the Oscars started giving out an award for best animated feature, and they’re the best argument for the award’s
Jason says: “A Korean director making an English-language movie from a French graphic novel may seem like a random combination, but it’s really not: Both Korean genre film and French bandes dessinées often blur genre lines and forms, while English
Jason says: “THE SKELETON TWINS refers to something which appears within the movie almost entirely so that the title will mean something, much like these indie family dramas with established actors themselves often seem to be in the same sort
Jason says: “Not having seen Ajay Devgn’s first go-round as Bajirao Singham, I have no idea of this sequel – which stands alone well enough – is an improvement or disappointment relatively speaking. There are elements that suggest it could
Jason says: “There are many ways to have a good road trip; you can do it by sticking close to a map and itinerary, let your whims guide you, or do something in between. There are many ways to mess
Jason says: “Mystery is not enough. Don’t misunderstand, it’s terrific when a story gets one to lean closer, tantalized by what’s going on, and creating that feeling is a matter of much more than leaving some details out while hinting
Brett says: “For SHREW’S NEST’s lead character Montse, the Biblical consideration ‘Am I my brother’s keeper?’ is more of an emphatic statement rather than a question. And in this case, she is not a brother’s keeper, rather her sister’s. In
Jason says: “Studios and exhibitors should find a way to get short films on movie screens more often. Individually, they’re often great, compact little stories, and a ticket that gets you a handful of them for ten bucks can come
Kyle says: “SHE’S LOST CONTROL, a feature film debut by director Anja Marquardt, tells a tale of sex surrogates within the psychotherapy community: the elusive goal is intimacy but the process involves sex with people who are essentially strangers, often
Kyle says: “MOUTON is the nickname for the title character; the word means ‘Sheep.’ It could also be taken as a description of audience members (like me) who are willingly dragged to artistic slaughter. The members of the Selection Committee
Jason says: “SEVENTH CODE is the sort of movie that can easily get lost in a career like Kiyoshi Kurosawa’s: It’s a short thing produced alongside two large projects that sure looks like a promotional tool for its pop-star lead
Jason says: “The previous version of THE GRAND SEDUCTION, a French-Canadian film, SEDUCING DR. LEWIS, from about ten years ago, seems to have been fairly well regarded along with being popular enough to inspire a remake. That isn’t necessarily surprising;
The Satellite Girl and Milk Cow (South Korea; 81 min.) directed by: Chang Hyung-yun starring: Jung Yu-mi; Yoo Ah-in Jason says: “You can do absolutely anything with animation, so why not do a story about a satellite that falls to
Bruce says: “First there was HEADING SOUTH, Laurent Cantet’s 2005 film that featured middle-aged women fighting for the affections of Haitian beach boys. Then came PARADISE: LOVE, Ulrich Seidl’s searing 2012 portrait of Austrian women who go to Kenya to
Kyle says: “SALVO is a rather remarkable feature film debut by writers and directors Fabio Grassadonia and Antonio Piazza (although they have a substantial chronology together as writers and script consultants) — a Mafia thriller that is both mainstream and
Kyle says: “SALVATION ARMY is a re-working of the autobiographical novel also written by Abdellah Taïa, who is making his directorial debut with this film. The first mainstream gay Moroccan film, Taïa tells the story of growing up poor and
Jason says: “The text at the beginning of THE SACRAMENT describes the journalistic style of its protagonists as ‘immersionism’, and I suspect that this is writer/director Ti West’s goal as well – getting the audience inside a situation that it
Jason says: “The first RURONI KENSHIN movie had the look of a franchise starter in the best sort of way, an introduction to an appealing setting and group of characters that leaves the door open for new adventures. The second
Jason says: “I went into THE ROVER already thinking about how Australia seems to churn out more than its share of post-apocalyptic movies (post-‘collapse’ in this case), at least among the ones worth remembering. It’s probably at least partially convenience
Jason says: “I want more from ROSEWATER, but I’m not exactly sure what I want more of. More obvious suffering and torment on the part of its protagonist would certainly drive the point home better, but demanding that seems callous