Jason says: “The ‘getting to know you’ movie is a vital part of the independent film scene. Aside from being something that can be shot on a budget – get a couple actors, some friendly locations, and a script with
Michael says: “As in JELLYFISH, my favorite film from last year, MAMMOTH finds as one of its core conflicts, a mother traveling half-way around the world to take care of other people’s children in order to make money to support
Jason says: “Though I tend to think that attempting to fit a movie into a specific genre and then being frustrated when it fails to fit there nicely speaks more ill of the viewer’s inflexibility than the movie itself, I
Bruce says: “PARIS is a kaleidoscopic film, one that tells many stories at once; it is difficult to keep the characters straight and impossible to imagine how they could be related. This statement is more observation than complaint. It is
Michael says: “What do we make of JULIA, and the very unusual career of filmmaker Erick Zonca? JULIA is a difficult to categorize film, part crime thriller, part melodrama, part farce, part comedy (although I’m not 100% certain the last
Jason says: “You know how most monster movies start out in the country or suburbs with the nasty stuff reaching the city something to be avoided at all costs? INFESTATION starts after that’s happened. After giving us a few minutes
Michael says: “Structured like a caper film of international espionage, THE COVE is actually a shocking documentary about a tiny Japanese fishing village that traffics dolphins to the hundreds of sea parks across the world, then slaughters the remaining to
Bruce says: “Muna (Nisreen Faour) is a single parent raising her son Fadi (Melkar Muallem) in Bethlehem. Each day they spend considerable time negotiating checkpoints, often humiliated by Israeli soldiers. Muna works at a bank and Fadi attends private school
Bruce says: “Not often do I wish that a foreign film would be remade by Hollywood but ACCIDENT is the perfect candidate. My hope is that some clarity would be added to the film, thus ratcheting it up the cat
Bruce says: “Kelly Reichardt from the looks of things is the modern chronicler of quiet desperation. WENDY AND LUCY is similar in many ways to her critically acclaimed earlier work, OLD JOY. The story is sparse, almost non-existent. There are