Bruce says: “Just before Christmas, Lionel (Lionel Baier) discovers that his family tree has some Polish branches. Most people would find such information mildly interesting but Lionel is a man of extremes. Although he is openly gay, he dumps his
Michael says: “Come on, wouldn’t you see this for the cast alone? Another film featuring a widowed academic in New York City, similar in gentle tone to THE VISITOR, but with a different look at the way we live our
Jason says: “SPIRAL is about as thin as a feature film can be, to the point where I think that maybe there’s not a feature’s worth of material to it. I wonder if it wouldn’t drift into obscurity, even by festival-circuit
Michael says: “‘Well, that was something.’ “My words about SOUTHLAND TALES spoken to my Chlotrudis colleagues as we left the theatre. “‘Well, we saw it.’ “My final words about SOUTHLAND TALES as we broke up for the evening. “Chlotrudis members
Jay says: “Alan Rickman is an underappreciated treasure. It sounds like an odd thing to say, because he’s been a quite memorable part of some huge hits, but movies where he’s the feature attraction appear and disappear quickly and quietly
Bruce says: “Brillante Mendoza, director of MASSEUR which I saw at the 2004 Toronto International Film Festival, has come a long way in a few years. He still uses many untrained actors although the four leads in SLINGSHOT are actors
Bruce says: “In my opinion, there is no director making more visually stunning films than Tsai Ming-liang. I DON’T WANT TO SLEEP ALONE is a smashing example of a true master at work . Invariably, each scene in his new
Bruce says: “This psychological thriller was made for Australian TV and although it has some excellent performances, the overall effect is weakened by a slightly preposterous script and some overwrought dialogue. “Richard Treloar (Richard Roxburgh) has had a meltdown. During
Chris says: “To paraphrase an expression one of my colleagues loves to use, I am so over Michael Moore. His earlier movies and TV shows were amusing and unsettling in equal amounts, but he jumped the shark with FAHRENHEIT 911,
Jason says: “Being a gangster sounds cool until you try to make a career out of it. Maybe the money’s okay, but the hours stink, it’s awkward when your daughter’s teacher asks you what you do for a living, and
Michael says: “On a recent trip to New York City, we caught THE SECRET LIFE OF WORDS, Isabel Coixet’s (MY LIFE WITHOUT ME) latest film, on opening day. Coixet alum Sarah Polley stars as Hanna, a young deaf woman who
Bruce says: “AMADEUS did Mozart great disservice, portraying him as silly and deluded during the last decade of his life. Phil Grabsky is out to set the record straight by tracing Mozart’s career from the time of his first known
Michael says: “It took Tamara Jenkins nearly ten years to release this follow-up to her critically acclaimed, debut feature, 1998’s THE SLUMS OF BEVERLY HILLS. In that time, she shifted her focus from the west coast to the east, from
Bruce says: “Director Alessandro Angelini does a great job in setting up his story. The tight writing and editing seem the work of a much more seasoned filmmaker. SALTY AIR is skimpy on plot but the general flavor and intense
Michael says: “The synopsis of ROW HARD, NO EXCUSES is pretty simple: two men enter a competition to row across the Atlantic Ocean. First-time documentary filmmaker Luke Wolbach chronicles the men’s journey to the race and across the Atlantic, while
Bruce says: “Some suspicious activity is going on with cargo at the airport; a man is having his photo taken standing in front of a painting with fake looking palms trees; a stun gun is fired; and a girl is
Diane says: “Zany beginning fades to a ragged story in John Turturro’s third outing as director. James Gandolfini opens with an all-out singing and dancing number on the street of his Brooklyn neighborhood, supported by garbagemen et al. His wife,
Jason says: “No-one uses the word ‘terrorism’ in RIGHT At YOUR DOOR, but that’s not because it’s irrelevant to the movie. It’s all about terror, and the fear that comes from not knowing what just happened, what’s going to happen, and
Bruce says: “RETRIBUTION is a thought-provoking mixed genre film – . part police procedural, part horror, part thriller – which is a bit of a muddle. The acting, editing, set design and cinematography are all outstanding so there is much
Bruce says: “Were the acting not so good, my recommendation would be to not bother with this overwrought drama which is reminiscent of IN THE BEDROOM with its vengeful father and WE DON’T LIVE HERE ANYMORE and THE ICE STORM