Jason says: “The text at the beginning of THE SACRAMENT describes the journalistic style of its protagonists as ‘immersionism’, and I suspect that this is writer/director Ti West’s goal as well – getting the audience inside a situation that it
Jason says: “I went into THE ROVER already thinking about how Australia seems to churn out more than its share of post-apocalyptic movies (post-‘collapse’ in this case), at least among the ones worth remembering. It’s probably at least partially convenience
Jason says: “I want more from ROSEWATER, but I’m not exactly sure what I want more of. More obvious suffering and torment on the part of its protagonist would certainly drive the point home better, but demanding that seems callous
Jason says: “Don’t let some of the pedigree that REVENGE OF THE GREEN DRAGONS can whip out fool you – executive producer/’presenter’ Martin Scorsese and co-director Andrew Lau have made some transcendent gangster movies, but this one is more or
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