Jason says: “In the last review I wrote (for the delightful MARWENCOL), I said that documentaries about art and artists were frequently disappointing, in part because filmmakers have a hard time translating the brilliance they see into something a non-artist
Jason says: “I’d like to think I’m generous when reviewing and rating movies: If I enjoy a movie while watching it, but it loses something on later examination, I make sure to emphasize that this doesn’t undo the initial good
Jason says: “Making a good romantic comedy seems easy enough, in theory: Come up with some witty banter, figure out what makes the people delivering it interesting and likable, add a reason that they aren’t kissing by the end of
Thom says: “How this film opened TIFF is beyond all understanding for it failed on so many levels. There really wasn’t even much pleasure in seeing Bettany play against his real life wife Connelly as Charles Darwin & his wife
Jason says: “It’s a hoary old chestnut, but one that has stuck in the English language every since Shakespeare first used it in Hamlet because here’s a truth contained in it: ‘Method to madness.’ It’s not enough to just say
Diane says: “A hodgepodge from Coppola deals with creative genius and fraternal rivalry. The unevenness shows in the personnel: one character is wonderfully warm and realistic; a few are absurd; another is full of bombast, signifying nothing. Lead Vince Gallo
Bruce says: “Director Michael Cuesta and screenwriter Dave Callaham go out of their way to tip their hats to Edgar Allan Poe. Cuesta has succeeded in creating a gothic atmosphere by filming TELL TALE in the old section of Providence,
Jason says: “SLAM-BANG is, as the director pointed out several times during the introduction and Q&A, a notable movie for being a bit of pulp action made independently in South Africa. It is apparently very difficult to get a film
Jason says: “I take no joy in disliking RiP: A REMIX MANIFESTO. I agree with many of its principles; I’ve done plenty of highly-derivative works for fun in my time and think U.S. copyright law is out of control. But,
Jason says: “THE LAST INTERNATIONAL PLAYBOY was known as FROST during its time on the festival circuit, and I wholeheartedly support the name change, both because the longer title is a lot more interesting and because it downplays the fact