Jason says: “Mystery is not enough. Don’t misunderstand, it’s terrific when a story gets one to lean closer, tantalized by what’s going on, and creating that feeling is a matter of much more than leaving some details out while hinting
Jason says: “Give PROXY filmmaker Zack Parker this: Unlike many movies that wind up labeled ‘horror’, his delivers something that its audience will want to put out of their heads afterward because it doesn’t bear thinking about. Unfortunately, he keeps
Jason says: “Sometimes, a movie spends so long introducing itself that it barely has time to do anything, which feels like the case for KUNDO: AGE OF THE RAMPANT. I think it’s because this movie wants so badly to be
Thom says: “This is a bulging, pompous, treacly mess of a film that has big bucks written all over it. Here Downey Jr. (he takes his A-List status very seriously these days) plays a Chicago defense lawyer of dubious moral
Jason says: “I wonder where filmmakers start and wind up, in terms of motivation and attitude, when making something like MY NAME IS JONAH. It seems awfully cynical if the final product is what they envisioned, but if not… Well,
Kyle says: “‘All I want is a normal life.’ The moment this line is delivered by James (Spencer Lofranco) in the running time of JAMESY BOY is startling, first because every action and character preceding has made sure this is
Jason says: “There was applause in the theater at the end of GIMME SHELTER and even if I don’t think it’s a particularly impressive movie, I don’t begrudge anybody that reaction. Who doesn’t want to applaud a shelter that helps
Jason says: “In the Q&A after the movie, the filmmakers described how EJECTA sort of came together as a sort of chimera, with its two distinct tracks being shot well apart and stitched together like a Frankenstein’s monster. It’s not
Thom says: “While director Schlöndorff doesn’t have quite the cachet of contemporaries Herzog, Fassbinder, or Wenders he still has a fairly consistent track record with THE TIN DRUM, YOUNG TORLESS, THE LOST HONOUR OF KATHARINA BLUM, COUP DE GRACE, CIRCLE
Jason says: “BUTTER ON THE LATCH was listed in the program as playing before director Josephine Decker’s prior film, THOU WAST MILD AND LOVELY, as if it was a short film rather than a 63-minute feature. The programmers and projectionists