Michael says: “Both thoughtful and whimsical, Arvin Chen’s WILL YOU STILL LOVE ME TOMORROW is a poignant exploration of a married couple’s domestic struggle while trying to have a child, when the husband realizes he cannot deny his homosexuality. Weichung
Jason says: “It would be kind of amusing if, in the future, WHITE REINDEER winds up dropped into the Christmas rotation of independent-minded theaters, television stations, and online-streaming-lists as an apparent poison pill. Not that there aren’t already plenty of
Bruce says: “The ‘hidden cities,’ the slums of Buenos Aires, are not as famous as the favelas of Rio de Janeiro but that may be because they are a more recent phenomenon. The tribal people of the western mountains bordering
Jason says: “I’m guessing that there’s not a whole lot of money for science fiction filmmaking in Jordan, which is why WHEN TIME BECOMES A WOMAN not only feels less like a movie than a one-act play, but also has
Thom says: “McGehee & Siegel have long fascinated me starting out with one of the strangest films ever made in SUTURE followed by two great films in THE DEEP END & BEE SEASON. While UNCERTAINTY was a decided letdown, because
Thom says: “Coming so close on the heels of my viewing of the PARADISE LOST trilogy: THE CHILD MURDERS AT ROBIN HOOD HILLS, REVELATIONS, & PURGATORY, I saw this the week it opened in San Francisco. With a big heft
Kyle says: “The title is misleading only if your notion of ‘werewolf’ is defined by the usually unclad muscular body of Taylor Lautner as Jacob Black, and CGI transformations into a huge snarling but protective wolf, in THE TWILIGHT SAGA
Jason says: “WE ARE WHAT WE ARE makes a heck of a case for the much-maligned idea of remaking a foreign film in English. Though the original Mexican version was much-beloved by many (I thought it had a great opening
Thom says: “This new dysfunctional family-on-vacation coming-of-age dramedy is a first time effort from the directors who won the 2012 Oscar for adapted screenplay for THE DESCENDANTS along with Alexander Payne. It’s a decent first effort that is nicely character-driven
Jason says: “What, exactly, is the difference be ween a crime movie and a caper movie? Scale? The intricacy of the plan? Do the characters being a notch more charming or less working-class change the classification? Or is this just
Diane says: “Or, by its more appropriate international title ADELE: CHAPTERS 1 AND 2. A.k.a. the three-hour lesbian sex movie. “I had expected a happy movie: girl discovers her sexuality, finds a thrilling blue-haired partner who opens her eyes to
Jason says: “There’s a lot of reasons to recommend staying away from WAR OF THE WORLDS: GOLIATH: Inconsistent animation, a weak script, bland voice acting, etc. On the other hand, it’s got Teddy Roosevelt killing Martians, and while that doesn’t
Jason says: “To call last year’s V/H/S uneven would be generous; while it managed ‘pretty good’ in a couple of segments, it was awful in more. Still, the good thing about commercially successful anthology films is that sequels need not
Jason says: “Is there a name for the genre that includes films like HAPPY ENDINGS, SAFETY NOT GUARANTEED, and now Australian independent VESSEL yet? There should be, as ‘maybe science fiction, maybe mental illness’ is rather unwieldy. This one does
Kyle says: “According to the New York Asian Film Festival program booklet, VERY ORDINARY COUPLE, seen in its North American Premiere screening, out-grossed both A GOOD DAY TO DIE HARD and GI JOE 2 at the Korean box office. Relief
Bruce says: “Disclaimer: I am a huge tennis fan and, more specifically, a great fan of the Williams sisters. With that in mind, I hope that I am objective in reviewing VENUS AND SERENA, a documentary about the two women.
Jason says: “I suspect that every film director would like to make a film that takes place inside dreams at some point – it’s free reign to create imaginative visuals, dig right into a character’s subconscious, and make the occasional
Jason says: “There are any number of different types of weird movies, from the merely offbeat to eccentric to bizarre and beyond. UZUMASA JACOPETTI certainly tends toward the stranger end of the spectrum, and like a lot of movies there,
Jason says: “For all that the interconnectedness of today’s world can make it harder for something to truly take one by surprise – there’s non-stop casting news, coverage, previews, and analysis of it commercial and artistic outlook to the point