Michael says: “In the tradition of feel-good films like BEND IT LIKE BECKHAM or BILLY ELLIOT combined, WONDROUS OBLIVION shows us our collective prejudices but allows us to overcome them in a slightly formulaic, but ultimately more successful film than
Bruce says: “Henry Geldzahler was an anomaly – a gay man often traveling in circles of predominately straight artists who liked to hang out at the famed Cedar Tavern in Greenwich Village; a curator of contemporary art for a museum
Bruce says: “Wetlands used to be about twenty blocks from where I live and I had never heard of it. The reason for that is pretty clear. Some big names played at Wetlands before becoming famous – Dave Matthews, Phish,
Chris says: “I’ve been wracking my brain trying to think of exceptional lead actresses to nominate this year. Just in time, Felicity Huffman slaughters any potential competition in a brave, absorbing turn as Bree, a 40-ish pre-operative man-to-woman transsexual. “One
Beth says: “The latest from Korea’s Kim Ki-duk. A woman undergoes secret cosmetic surgery then reappears as a new woman who romances her boyfriend – is it the ultimate sacrifice, to make yourself anew for love, or the ultimate test,
Michael says: “French cinema has been delving into such societal issues as traditional home and work life in recent years in such films as Laurent Cantet’s L’EMPLOI DU TEMPS and HUMAN RESOURCES. Now, in his bold directorial debut, Robin Campillo,
Peter says: “With his new film SHORTBUS, John Cameron Mitchel again demonstrates why he is one of the most innovative writer/directors in independent film today. Mitchell, who also wrote, directed and starred in HEDWIG & THE ANGRY INCH this time
Michael says: “There is one reason to see SHERRYBABY, and that’s for Maggie Gyllenhaal’s fearless performance as Sherry, a single mother recently released from jail and on parole after serving three years for stealing to support her drug habit. It’s
Chris says: “In 2001, Richard Linklater’s WAKING LIFE merged live action with animation via a process called ‘interpolated rotoscoping,’ creating a fluid visual tableau that one could best liken to watching a painting coming to life. Much of its appeal
Bruce says: “Michael Winterbottom, one of the most prolific film directors currently working, is often attracted to political subjects in films like WELCOME TO SARAJEVO and IN THIS WORLD. Those films touched on the aftermath of wars in Yugoslavia and