Thom says: “This Chlotrudis offering far out-met my expectations which is always a thrill for this inveterate viewer. Of course I’d seen PUMPING IRON (1977) back in the day, & was surprised probably as anyone at the continued career &
Chris says: “This Academy Award-nominated documentary consists of interviews with six former heads of the Shin Bet (essentially the Israeli equivalent of the Secret Service), spanning the Six Day War (late 1960s) to the present. The openness and candor with
Jason says: “A new animated film from Makoto Shinkai at this point necessitates my going back and re-reading what I have written about the rest of his productions, as it can look somewhat lazy to praise him the same way
Jason says: “You don’t really need that much of a hook for a coming-of-age film – they’re more or less going to cover the same territory, albeit in different ways – but it doesn’t hurt to have one. That way,
Chris says: “So powerful and upsetting are the last twenty-odd minutes of Ryan Coogler’s debut feature that it’s not hard to see why it won the 2013 Sundance Film Festival’s Grand Jury Prize. In recreating the moments that led up
Thom says: “After KICKING & SCREAMING, MR. JEALOUSY, THE SQUID & THE WHALE, GREENBERG, & MARGOT AT THE WEDDING all cineastes are aware of Baumbach and except for the misstep GREENBERG he’s always interested me but this is far-and-away his
Jason says: “A tricky thing for a science fiction story to do is to build its world and story without spending any time explaining it to the characters that, living in it, don’t need the explanation. Add a changing timeline
Kyle says: “A slapstick farce from Taiwan in Mandarin that is both an affectionate satire of a long vanished Taiwanese film business in 1969 (there are numerous references to the July 1969 Moon Landing) and a sweet romantic comedy about
Jason says: “Science fiction writers have come up with dozens of ways for time travel to be a terrible idea, from rifts that can collapse the entire structure of the Universe to far-future AIs who will eradicate anything that might
Bruce says: “Growing up in Warsaw film director Tomasz Wasilewski was exposed to the films of Krzysztof Kieslowski at an early age. While he does not see films such as THE DECALOGUE as a direct influence, he does feel that
Kyle says: “The North American premiere of IP MAN: THE FINAL FIGHT, the second Hong Kong film about Ip Man directed by Herman Yau to be screened at the New York Asian Film Festival, contrasts both narratively and stylistically with
Jason says: “If you’re going to go through a time of self-doubt or regret, you could find worse surroundings than Fairhaven, Mass. It’s got the kind of snow dirt and smoke don’t seem to stick to, there are good friends
Jason says: “I have likely mentioned this a few dozen times, but my favorite subset of science fiction is that which takes place during the ‘interplanetary era’, as humanity expands from Earth but is still confined to the solar system
Jason says: “Someday, perhaps soon, folks may accuse Randy Moore of selling out. After all, while most of the crowd for the opening-night showing of ESCAPE FROM TOMORROW seemed to be there to cheer on poking a finger in the
Chris says: “As dependable as Rohmer or Ozu, Nicole Holofcener could be their modern American equivalent as an auteur director. In terms of style and sensibility, she arguably makes the same film over and over again, but touches on a
Kyle says: “The awkwardly but amusingly Anglicized title EMPEROR VISITS THE HELL is based upon three chapters from the 16th century Chinese novel, Journey to the West” — not to be confused with Hong Kong actor-director Stephen Chow’s recent film
Jason says: “Under normal circumstances, I might grumble about EMPEROR being a case of keeping an interesting story and larger-than-life characters at arm’s length in favor of someone that the audience can perhaps more easily relate to. In this case,
Jason says: “We’ve all heard (or used) some variation on ‘my art comes from a dark place’ before; there’s also its close relative ‘suffering for one’s art’. Not exactly the inspiration you’d expect for a movie named ‘EDDIE: THE SLEEPWALKING
Chris says: “Serviceable—that’s the word I kept thinking of throughout this thriller in which an intelligence agency operative (Brit Marling) infiltrates herself within an eco-terrorist group that targets the agency’s corporate clients. I’m not saying this film, co-written by Marling
Jason says: “You wouldn’t think a genre as hyphenated as the indie-sci-fi-romantic-comedy would have enough entries to have staples, but ‘boy thinks he’s alien/time traveler/robot, making the girl who thinks he’s otherwise sweet uncomfortable’ pops up a fair amount. It