Bruce says: “The biggest problem with STRUCK BY LIGHTNING is the protagonist. He is not very likable. In the opening frames we learn that Carson Phillips (Chris Colfer of GLEE fame) is the lightning victim. Carson is also the victim
Jason says: “Based upon Daisy von Scherler Mayer’s film version, SOME GIRL (S) is a play with a rather tortured premise, and I suspect that actors who like a challenge are drawn to it for that. Sure, Neil LaBute gives
Jason says: “I don’t feel bad about not particularly liking SOFT IN THE HEAD, but one of the reasons I don’t like it bugs me. I look down on its characters, which means I probably look down on their real-life
Jason says: “What is there to say about DISCOPATH that matters to anybody outside its relatively narrow target audience? It’s a slasher movie with a simple but absurd concept and some impressive effects work to show the mayhem, and both
Jason says: “‘THE DEAD EXPERIMENT’ is going to get abused as a title. There’s the way it’s probably meant to be taken, as a sinister-sounding article-adjective-noun combination, but it also turns out to be a true sentence describing the plot
Jason says: “THE BURNING BUDDHA MAN is almost certainly unlike any feature film that will show up this year, animated or not. In fact, the style of this movie is so singular that it might be the rare movie that
Jason says: “The punny theme song that plays over the opening credits of MURDER UNIVERSITY may be the best part of the movie, although it’s close and at least an example of what’s coming: A jokey flick that’s surprisingly entertaining
Chris says: “A fictional work based on a filmmaker’s own personal events risks a failure to resonate with or even translate to an audience. That’s exactly the problem with the latest from FORTY SHADES OF BLUE director Ira Sachs, which
Jason says: “GANDU is almost more interesting for what it is – an ‘anti-Bollywood’ movie – than as a movie with characters and story and all. Shot in stark black-and-white, and musically propelled by hard-edged Bengali rap, it focuses on
Jason says: “DUST UP has some very cool opening credits, clever throwbacks to the 1970s exploitation flicks it emulates over a rocking soundtrack; it’s got a couple of nifty posters along those lines, too. Like those movies, the actual product