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
Bruce says: “The purpose of the New Directors/New Films Festival is to promote emerging talent. The festival has a remarkable track record, having discovered many directors who are now considered leaders in their field. The festival is remarkably open to
Bruce says: “Director Ivana Mladenovic admits that the genesis of her film began as a narrative feature film crew got permission to film in a prison using inmates as actors. Although she did not go into detail, that venture fell
Thom says: “In 1889 German philosopher Friedrich Nietzsche witnessed the flagellation of a horse while traveling in Turin, Italy. He tossed his arms o’er the horse’s neck to safeguard it then collapsed to the soil. In less than one month,
Jason says: “After NEW KIDS TURBO, another festivalgoer and I off-handedly discussed which bit of incessantly repeated profanity was less likely to fly with an American audience. For a certain group, that sort of broad-spectrum political incorrectness is an asset
Bruce says: “Michael Winterbottom (WONDERLAND, THE TRIP, 24 HOUR PARTY PEOPLE, THE ROAD TO GUANTANAMO, IN THIS WORLD, WELCOME TO SARAJEVO, TRISTRAM SHANDY: A COCK AND BULL STORY) is one of the most versatile directors in the history of film.
Jason says: “Instant photography is pretty darn cool, both as concept and technology, and most of the core audience for TIME ZERO: THE LAST YEAR OF POLAROID FILM probably already feels that rather strongly. The rest of the people who
Bruce says: “I’m a big Mendoza fan. His first film, THE MASSEUR, screened at my first Toronto Film Festival. Since then Mendoza has made wonderful films such as LOLA, FOSTER CHILD, SERBIS and SLINGSHOT; each of these films depict a