Jason says: “This live-action adaptation of Yasuomi Umetsu’s animated series has apparently been in development for fifteen years, and the end result is one to make you wonder why certain projects persist and eventually get made in some form while
Jason says: “THE KINGDOM OF DREAMS AND MADNESS is sometimes described as ‘a year in the life of Studio Ghibli’, and one which is potentially its last year as an active production house. Many fans will likely be fascinated to
To Kill a Man (Chile; 82 min.) directed by: Alejandro Fernández Almendrasstarring: Daniel Candia; Daniel Antivilo; Ariel Mateluna,; Alejandra Yañez Kyle says: “TO KILL A MAN sets up the conventions of a revenge thriller and takes us in an unexpected
Jason says: “‘Kids For Cash!’ makes a great tabloid headline – heck, it looks good on a broadsheet when something akin to the scandal that this movie documents is discovered. It may not be the best title for this particular
Kept (Japan; 71 min.) directed by: Maki Mizuistarring: Momoha; Ken Koba; Kayano; Iona; Fuzuki Jason says: “The folks who made KEPT don’t usually do this sort of thing; their names usually show up on light-hearted but bloody genre movies. The
Jason says: “Joe R. Lansdale is a writer much beloved by crime & horror fans but who has never really broken through to mainstream recognition the way contemporaries like Steven King and Clive Barker have; Jim Mickle is an independent
Thom says: “This is a bulging, pompous, treacly mess of a film that has big bucks written all over it. Here Downey Jr. (he takes his A-List status very seriously these days) plays a Chicago defense lawyer of dubious moral
Kyle says: “JOURNEY TO THE WEST is a wild comedic fantasy based on a 16th century Chinese text that occupies a significant place in Chinese culture and has been adapted many times for many different media. In the New Directors/New
Jason says: “I wonder where filmmakers start and wind up, in terms of motivation and attitude, when making something like MY NAME IS JONAH. It seems awfully cynical if the final product is what they envisioned, but if not… Well,
Jon Imber’s Left Hand (UK; 57 min.) directed by: Richard Kanestarring: Deborah Wye; Jill Hoy; John Yau; John Stromberg; Jon Imber Jason says: “I can’t claim to have much of a grasp on Join Imber’s place in the world of
Jason says: “Look at JOE and you see a couple of people who haven’t necessarily done their best work for the past few years. Some will say director David Gordon Green’s PRINCE AVALANCHE was a return to form after a
Bruce says: “The hype machine is usually associated with success stories. JOBRIATH A. D. is a fascinating documentary about a colossal failure in spite of tremendous hype. Jobriath (rhymes with Goliath) Salisbury was the stage name chosen by Bruce Wayne
Jason says: “This is a terrible little supernatural thriller, one of the more clumsily executed movies I’ve seen at a mainstream multiplex in some time. It’s bad enough that one really doesn’t need to get into how timid it is
Jason says: “Early on in JIMMY P., a character apologizes for the way he tells, and it’s a bit of an odd moment, as he’s not the one whose manner of speech is likely to give a modern audience pause.
Kyle says: “THE JEWISH CARDINAL disappoints in the way of most fictional accounts of real people and events: The messiness of life must be reduced to the neatness of fiction. This account of the relationship between Jean-Marie Aaron Lustiger, Archbishop
Kyle says: “THE JAPANESE DOG is yet another outstanding film from what cineastes refer to as either the Romanian New Wave or the New Romanian Cinema. The title refers to a plastic toy dog that waddles, flashes lights, talks ‘baby
Kyle says: “‘All I want is a normal life.’ The moment this line is delivered by James (Spencer Lofranco) in the running time of JAMESY BOY is startling, first because every action and character preceding has made sure this is
Jason says: “The fact that the satire in JACKY IN THE KINGDOM OF WOMEN so often seems silly rather than particularly cutting might just be the most damning indictment of entrenched gender roles that there is; the whole thing seems
Bruce says: “No one can accuse Laurent Cantet of making the same film over and over. Although his first film was not even released in his home country, his auspicious second feature HUMAN RESOURCES (1999) resonated with filmgoers around the
Jason says: “It’s been far too long since I’ve read far too little Dickens, but that actually matters not a whit in appreciating THE INVISIBLE WOMAN; though knowing some details of his work certainly will help, this story of him