Jason says: “RAMMBOCK is far enough outside what usually the parameters of what shows up on multiplex screens – a low-budget German horror movie so short that only an hour and fifteen minutes passes between the lights going down and
Jason says: “There should be more chess movies, although there are probably more than I think because I just haven’t gotten around to seeing many (I remember Siskel & Ebert raving about FRESH, but I missed it). It’s a game
Jason says: “PUNISHED levels with the audience pretty quickly, opening with two scenes that don’t say everything but make it clear that this movie is less about resolutions than the process of getting there. Later on, it spells out just
Jason says: “Congratulations, Usama Alshaibi. You’ve managed to make spiritualism, Islamic mythology, and kinky sex boring in one brief eighty-minute feature. That’s quite an impressive accomplishment, considering that most of the movie doesn’t seem interested in accomplishing much of anything.
Thom says: “Earlier on in the beginning of his career Ozun showed he might well be on the way to become one of the great French directors but lately he seems to have lost his way. I was fascinated, while
Jason says: “POINT BLANK is not a French remake of the classic 1967 John Boorman flick that starred Lee Marvin; that would require being mean down to its very bones, and this one is a shade or two warmer than
Ibad says: “POETRY is a fascinating and often heartbreaking story focusing around an older woman desperate for fulfillment, vision, and control over her thoughts and memories. At the center of it is a behemoth of a performance by Jeong-he Yoon,
Bruce says: “For twenty years Wim Wenders and Pina Bausch planned on making this documentary. Wenders could not get started on the project because he could not figure out how to put her choreography on film. Finally, he decided to
Jason says: “In most zombie/contagion movies, the point where the tension really cranks up is when, after braving the various horrors to get to what should be a safe place, the characters discover that the greatest danger isn’t out there;
Chris says: “For film festivals from Cannes to Toronto, it’s usually a safe bet that the opening night film will not be the fest’s pick of the litter. Those selected for the Provincetown International Film Festival (now in its 13th
Michael says: “Saw PARIAH last week, and I want to urge anyone who is heading out to the movies this week to try to catch it before nominations. PARIAH is the story of a young African-American lesbian in high school
Diane says: “Had resisted seeing this one for so long, but… “The main thrust of the docu, about how the Web, social media, etc. are killing newspapers, is a stale story by now. What excited me were the stories of
Jason says: “Takeshi Kitano has apparently been doing unusual stuff lately, with GLORY TO THE FILMMAKER and TAKEHSHIS apparently being considered weird for even Japan. Those projects haven’t been doing quite so well, so Kitano has gone back to the
Jason says: “OUR IDIOT BROTHER is just as broad a comedy as its name suggests but a good deal less mean-spirited. In other eras, it might have been a door-slamming farce, although in the present its screwball tendencies are held
Diane says: “Doc about middle-aged punk rockers becoming ‘F’athers. Snippets of interviews about men teaching street-crossing rules to their kids after a career of being anti-authority, being accepted by other preschool parents despite all those nasty tattoos, blaming their parents
Jason says: “There’s an interesting idea at the center of ONE BIG HAPA FAMILY – investigating the astonishingly high rate of mixed marriages among ethnically Japanese Canadians – and director Jeff Chiba Stearns is enthusiastic about pursuing it and occasionally
Diane says: “I had avoided this one for quite a while because I thought it would be trite. But no! Based on the true story of French monks in Algeria in the late 1990s, much of the film covers the
Jason says: “One thing that I’ve noticed from reviewing Korean movies is that action movies are fairly likely to have the same person credited as writing and directing, whereas in Hollywood (and elsewhere) there will be many more names in
Jason says: “I don’t think it was Patricio Guzmán’s plan to do a bait-and-switch with his documentary NOSTALGIA FOR THE LIGHT, but if it was, he executes an unusually smooth and effective one here: It’s one thing to start with
Jason says: “For the last few years, I’ve had this recurring joke about how hiring TakashivMiike to direct family movies is the Japanese equivalent of Warner Brothers getting the rights to Harry Potter and deciding that the right man for