Bruce says: “It has been seven years since MY SUMMER OF LOVE, so to say the THE WOMAN IN THE FIFTH was eagerly anticipated is an understatement. Although an entirely different type of film, comparisons to MIDNIGHT IN PARIS are
Jason says: “A girl-group horror movie isn’t really a bad idea at all: You’ve got pretty girls, who are highly competitive by nature to fuel any issues between them, and a bunch of settings and situations where people could be
Thom says: “Corey appears to have it all: a wildly successful career, a caring, fun, naughty, bitchy sister, and a younger, adorable, gorgeous partner but when he wants to take his relationship to a more committed level the boyfriend freaks
Jason says: “At no point during WE NEED TO TALK ABOUT KEVIN are the words of the title actually spoken, but it’s not like it would have made a difference if they were. There’s just nothing you can do about
Thom says: “Gyllenhaal brought me to this buddy cop drama that used that too-oft-used new film technique of using hand-held cameras for film footage. Has this worked well anywhere except for [REC]2. Brian Taylor & Mike Zavala are best friends
Jason says: “No matter the cultures involved, movies like WARRIORS OF THE RAINBOW: SEEDIQ BALE follow a certain tragic pattern: Conquest, valiant rebellion, inevitable clampdown. Here, the invaders are the Japanese, the natives are Taiwan’s Seediq people, and the way
Jason says: “Understand this: THE WARPED FOREST isn’t a sequel to FUNKY FOREST: THE FIRST CONTACT (the famously trippy film director/co-writer Shunichiro Miki made with Katsuhito Ishii and Hajime Ishimine); it’s a movie Miki made out of the ideas that
Michael says: “THE WAITING ROOM is director Peter Nicks’ feature doc debut, and in it, he takes us through 24 hours of a busy hospital emergency waiting room. I joked before I saw it that it was a real look
Jason says: “WAGNER AND ME is probably only going to be terribly educational for those like myself whose musical knowledge is relatively shallow – the folks who sing ‘kill the wab-bit!’ to ourselves when a certain bit of Richard Wagner’s
Jason says: “VULGARIA would certainly be an example of writer/director Pang Ho-Cheung’s incredible recent productivity if it were nothing else; it’s his second film of the year, shot in a ridiculous twelve days. Of course, it is something else –
Bruce says: “‘I’m fighting for generations that come after me,’ Vitto Russo states early in this excellent documentary. ‘When you talk about gay rights you have to talk about Vito,’ a friend tells the camera. Born in east Harlem but
Bruce says: “Three of my Toronto International Film Festival films in 2012 were selected based on a single criterion, that I had never before seen a film from its country. Those countries were Angola, Guatemala and Mozambique. “When Soviet-backed bush
Bruce says: “What begins as a filmmaker’s conceit turns out to be a wonderful sociological essay on rural life in northern Egypt. Namir Abdel Messeeh was born in Egypt and his parents left him behind when they emigrated to France.
Jason says: “THE VIRAL FACTOR aims to be a throwback to the pre-Hollywood films of John Woo, combining stylish action with even grander melodrama. And while director Dante Lam likely has more in common with today’s John Woo than the
Jason says: “V/H/S is an anthology film with six segments (including the spine), each of which is the product of up-and-coming independent [horror] directors, and each of which makes an attempt to do something interesting with the ‘found footage’ conceit.
Jason says: “Times are tough for everybody, although ‘tough’ can be a relative concept. The further you get from the bottom, not only does it get further from what many would consider really difficult, but harder to sympathize, at least
Thom says: “While I’m certainly familiar with many of André Téchiné’s films including THE GIRL ON THE TRAIN, SCENE OF THE CRIME, RENDEZ-VOUS, BAROCCO, STRAYED, THE WITNESSES the only one I’ll truly remember is WILD REEDS (1994). He’s always a
Thom says:b”This Australian television film was a real eye-opener. Connolly’s work is mostly unfamiliar to me although I did see THE BANK (2001, 3 CATS). This was a thrilling and awe-inspiring true story about the late-teen scene of one of
Thom says: “With so many great films behind him (including RAISE THE RED LANTERN, CURSE OF THE GOLDEN FLOWER, HERO, SHANGHAI TRIAD, HOUSE OF FLYING DAGGERS, & many others) I would have thought this lovely film would have, at least,
Ibad says: “There are many films that capture the bleak landscape of humanity, with an emphasis on the treatment of women, that come across as manipulative, misogynistic, forced, and/or sadistic. No such thing in TYRANNOSAUR. Although it doesn’t deliver on