Jason says: “A couple of weeks ago, I mentioned the projectionist at my neighborhood theater by name when talking to a co-worker, and he took the fact that I knew him by name as a sign that maybe I spent
Jason says: “I initially started this review by writing about how wonderfully weird Japanese science fiction is, no matter what the medium, but the truth is, DUAL CITY isn’t that strange, at least not by those standards. It’s mainly just
Jason says: “THE WRECKING CREW has had a long time on the path to release – it played the festival circuit back in 2008, but it started shooting in 1996, meaning that it took director Denny Tedesco nearly two decades
Jason says: “In certain hands, VICTORIA might just have been an impressive achievement in logistics for hitting an ambitious set of marks as a single-shot, real-time thriller. It winds up being a fair bit better than that, even if there
Jason says: “There’s a shiny new Shaw Brothers logo among the vanity cards before TRIUMPH IN THE SKIES, likely because it’s a spinoff of a TV show that ran on Hong Kong’s TVB network, which was also founded by the
Jason says: “The characters in Dante Lam’s latest, TO THE FORE, often seem like they wouldn’t know what to do if they couldn’t be professional cyclists, and in a way, the film he made reflects that: When the characters are
Jason says: “There are movies that offer stronger lessons on why a film should not have a flash-forward to nearly the end unless there’s a really clever twist to be revealed than THE TAKING, as indicated by the fact that
Jason says: “The trick to something like I WAS A TEENAGE SUPERHERO SIDEKICK is to do at least a little more than just poke fun at comic-book clichés, both because there’s no real accomplishment in replacing fun with smugness and
Jason says: “There are times when SONG ONE starts to come across as a simple enough romance that its peculiar start fades into the background, and it’s odd for that to feel like a good thing. The way the two
Jason says: “The romantic comedy genre has felt a little tapped out lately; the big American studios barely produce them anymore and the independent productions like SLEEPING WITH OTHER PEOPLE are oddly self-aware. The trick that a filmmaker is trying