Diane says: “I think I made a mistake in choosing to see TOW instead of THE CHRONOLOGY OF WATER. While it has some impressive casting (Rose Byrne, Octavia Spencer, et al.), TOW has an uneven screenplay and some leaden acting. “Byrne plays an
Diane says: “I’d seen the gist of a few reviews for ANEMONE (Ronan Day-Lewis, director; Ronan and Daniel Day-Lewis, screenplay; Daniel, actor) so was predisposed to be disappointed. Critics were so excited to see DDL back on the screen that
Diane says: “[THE EXORCIST + WHERE THE WILD THINGS ARE] x Wes Anderson = DUST BUNNY “Eight-year-old Aurora is determined to get her Intriguing Neighbor’s help in killing the monster under her bed. Sumptuous set design/locations (Art Nouveau in Budapest),
Diane says: “Noah Baumbach’s newest comedy will, I predict, be the audience fave at Telluride-by-the-Sea here in Portsmouth, NH. George Clooney plays Jay Kelly, a Hollywood star who is constantly surrounded by people, whose ego and drive compel him to
Brett says: “It is baffling how a director can go from from something so good and even earn writing awards for it (ALL QUIET ON THE WESTERN FRONT) to something that requires such a reach from viewers that they suddenly
Diane says: “I was eager to see this film, having read Alexandra Fuller’s 2001 memoir when it came out. It’s a story of the end of British colonialism in Africa through the eyes of a young girl, Bobo. “Director/screenwriter Embeth
Brett says: “I go to festivals. I watch movies. I write reviews. I don’t make up the titles, so give a guy a break. From the mind of first-feature writer/director Aimee Kuge, CANNIBAL MUKBANG stretches the boundaries of mukbang entertainment:
Chris says: “Simon (Théodore Pellerin), a talented young performer in Montreal’s close-knit drag community is immediately smitten by Oliver (Félix Maritaud), a fellow drag queen freshly transplanted from France. They pursue a whirlwind romance while also collaborating together onstage, although their
Brett says: “From director Nicole Riegel, DANDELION is the latest installment of musical drama that showcases the title fictional singer-songwriter in the familiar position of struggling artist. In fact, much of the plot within is familiar territory for many audiences.
Michael says: “Atom Egoyan’s first dozen or so films were all fascinating, compelling works that solidified him as one of those filmmakers whose work I will always see. His last four or five have been more erratic, or worse, sometimes