Jason says: “It sometimes feels like Jenée LaMarque could have done more with THE PRETTY ONE; the idea of one identical twin taking the place of the other is certainly not new, but it’s the sort of plot device that
Bruce says: “Critics, fans and detractors alike, have compared Hong Sang-soo to Yasujiro Ozu largely because he is perceived as making the same film over and over OUR SUNHI clearly has broken that mold if for no other reason than
Jason says: “Once upon a time, the Weinstein brothers might have been able to make the pleasant-enough ONE CHANCE a sleeper hit, if not necessarily an awards contender; today they are barely able to get it noticed. And that’s not
Chris says: “One phrase my professors repeated throughout film school was ‘show, don’t tell.’ Seems like a pretty obvious tenet until you consider how many filmmakers do exactly the opposite, from Hollywood hacks to indie auteurs. Watching this film, I
Chris says: “Michel Gondry’s most ambitious film to date, MOOD INDIGO alternately plays like one of the director’s early, playfully innovative music videos stretched to feature-length, or ETERNAL SUNSHINE without brakes, or AMELIE on crack. An adaptation of a beloved
Jason says: “MARY KOM opens with the title character going into labor in the middle of an armed rebellion in 2007, and that’s the sort of thing that one might think would have been a bit of a bigger factor
Bruce says: “LOVE IS THE PERFECT CRIME succeeds largely for two reasons: an excellent cast headed by the able Mathieu Amalric and a moody wintery backdrop of the French Alps exquisitely photographed by Guillaume Deffontaines. Amalric (THE DIVING BELL AND
Jason says: “THE KINGDOM OF DREAMS AND MADNESS is sometimes described as ‘a year in the life of Studio Ghibli’, and one which is potentially its last year as an active production house. Many fans will likely be fascinated to
Kyle says: “JOURNEY TO THE WEST is a wild comedic fantasy based on a 16th century Chinese text that occupies a significant place in Chinese culture and has been adapted many times for many different media. In the New Directors/New
Bruce says: “No one can accuse Laurent Cantet of making the same film over and over. Although his first film was not even released in his home country, his auspicious second feature HUMAN RESOURCES (1999) resonated with filmgoers around the