Jay says: “You’re not supposed to laugh at movies like THE POET. It’s serious business, after all: Polish Jews running from the advancing German army! A good young man caught between his own loving, artistic heart and the brutality of
Jay says: “Do people still actually say ‘metrosexual?’ In today’s internet-speed environment, pop culture memes have an average half-life of about six months, and ‘metrosexual’ peaked two or three years ago. Not that it really matters; the title character’s metrosexuality
Bruce says: “Ralph Arlyck made a fifteen minute short film in 1969 called SEAN. The film was an interview with year old Sean Farrell. It screened with François Truffaut’s L’ENFANT SAUVAGE and Arlyck proudly displays a congratulatory note he received
Bruce says: “From its description BLACK BRUSH (FEKETE KEFE) is a Hungarian slacker film featuring four novice chimney sweeps and a stoned goat. Sounds irresistible, no? The plot is whacky enough but the dialogue (hopefully a bad translation) is inane.
Bruce says: “SOMEONE ELSE’S HAPPINESS is a story of loss, guilt and suspicion. The opening shots are gorgeous; a sudden thud is heard and the camera pans to a child who is struggling to get up alongside a road but
Diane says: “Dysfunctional family deals with a tragedy. Is this eligible? Noms for worst screenplay (writers threw in every family plot element but the kitchen sink), worst direction, worst soundtrack, and worst acting (although they didn’t have much to work
Hilary says: “Yes, it’s as bad as it looks. David Duchovny proves that he should stay away from directing and writing and likely restrict his acting to the small screen. “Anton Yelchin as the young version of Duchovny’s character, and
Bruce says: “More is certainly less. The number of giant stars in a film is inversely proportionate to the number of cats it will receive. That’s a rule of thumb I should have memorized by now. THE STEPFORD WIVES roped
Diane says: “Didn’t John Sayles’ movies used to be good? Especially after seeing MARIA FULL OF GRACE, this pic dealing with undocumented laborers is bad. It looks bad. The script is bad. Exposition is belabored (even going so far as
Bruce says: “Some movies just rub you the wrong way. RED LIGHTS did that to me. Let me outline the plot. Antoine (Jean-Pierre Darroussin), a French milquetoast of a man who works in insurance, is married to Hélène (Carole Bouquet)