Thom says: “Over the years director Carpenter has certainly established some credibility in the B-movie category (HALLOWEEN (1978), ESCAPE FROM NEW YORK, THE FOG (1980), THE THING (1982), STARMAN) although in the past few years his reputation has slightly faltered.
Thom says: “Quick, how many films have you seen from the Democratic Republic of the Congo? While this was a screener I had my doubts but the gigantic surprise that was awaiting me was all thrills. Because this was director
Jason says: “As the English-language title suggests, TRUE LEGEND is based upon an actual historical figure, although I strongly suspect that he is, as they say, being ‘used fictitiously.’ After all, you don’t go to a Yuen Woo-ping movie for
Scot says: “TROLL HUNTER, released in 2010 in Norway but 2011 in the US, represents a fine evolution of the ‘found footage’ fictional narrative style most famously exploited by THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY. It’s not a new
Diane says: “More SIDEWAYS than MY DINNER WITH ANDRE, Michael Winterbottom’s THE TRIP has British actors Steve Coogan and Rob Brydon engaged in one-upmanship as they travel the North Country on a gastronomicaltour. The dialogue is not as profound or
Michael says: “When Kat and Vic, two old friends who performed together in a punk rock band twenty years ago are reunited, tensions are high, but so are the powerful memories of a strong bond that the two women shared.
Thom says: “I would love to know the story behind this film which was presented at TIFF 2011 at a Gala. Directed by Schumacher who is the director behind such largely mediocre product like FLAWLESS, ST. ELMO’S FIRE, THE LOST
Brett says: “Consistent garden imagery and images of ‘faded paradise’ as the eldest allows weeds to grow and so forth fit some really subtle Biblical tie-ins throughout. As far as the brothers, there is also an interesting ‘Am I my
Toni says: “I can understand why this film has garnered audience awards at Toronto, Melbourne, and Film Festival(s). Lynda and Jools Topp are as the title of the film and their song implies are in fact ‘untouchable girls.’ Lynda and
Chris says: “Many book-to-film adaptations fail because they aren’t faithful enough, but just as often they’re too literal to succeed as cinema. In struggling to capture a book’s essence, they adhere closely to what the prose dictates but subsequently feel
Chris says: “In rural Queensland, Australia, Peter, a father of four suffers a fatal heart attack while driving and hits the enormous tree next to his house. Soon, his wife Dawn (Charlotte Gainsbourg) and 8-year-old daughter Simone (Morgana Davies) sense
Toni says: “I think that THESE AMAZING SHADOWS is too much of a propaganda love story to random films selected to the National Film Registry than an even documentary about the registry. There is much one might like to learn
Jason says: “Earlier in this festival (and on many other occasions), I saw a movie about an eccentric kid growing up, and it was kind of annoying; even if inspired by actual people, the characters seemed like adult screenwriters. So
Jason says: “When Cristian Mungiu last took audiences to Romania before the fall of communism, he gave us the tense, oppressive 4 MONTHS, 3 WEEKS and 2 DAYS; it seldom referenced the Ceaușescu regime directly, but still managed to perfectly
Diane says: “A film about the pervasive anxiety in our world, through the story of one man’s mental illness. On the literal level, this movie is good at showing the stigma of mental illness and the chaos of delusional disorders.
Chris says: “After watching TABLOID, you wonder why it took so long for someone to make a film about Joyce McKinney. Her fascinating, stranger-than-fiction life story aside, she just blooms in front of the camera without giving off the pretense
Thom says: “Oh, how I wanted to like this film a whole bunch more. I’ve long adored Mark Ruffalo and seeing as this was his initial directing credit I was hoping for a new career for the endearing actor. It
Diane says: “I read conflicting reviews of SUPER. One called it ‘an unwieldy mix of juvenile jokery and attempted pathos that just doesn’t pay off’ (SF Chronicle); another ‘the second coming of the avant-garde in indie film’ and ‘occasionally brilliant’
Jason says: “Watching SUBMARINE, I wondered about director Richard Ayoade’s youth, speculating that he’d spent his time in the cinema, watching French movies rather than hanging out with other kids. There’s an argument to be made that one is better
Jason says: “It is customary, when discussing master filmmakers still producing movies well past when people in most industries have retired, to comment on how they are still vital and what an inspiration it is that they still love their