Kyle says: “According to the New York Asian Film Festival program booklet, VERY ORDINARY COUPLE, seen in its North American Premiere screening, out-grossed both A GOOD DAY TO DIE HARD and GI JOE 2 at the Korean box office. Relief
Bruce says: “New York filmmaker Shannon Plumb draws on her own experiences of motherhood for the vignettes in TOWHEADS. In the film her name is Penelope and her real live husband, Derek Cianfrance (THE PLACE BEYOND THE PINES and BLUE
Chris says: “A popular health food restaurant on the Sunset Strip… an experiment in spiritual communal living at the dawn of the 1970s… a cult overseen by Father Yod, a charismatic, excessively-bearded ex-Marine who eventually proclaimed he was God Himself…
Jason says: “There are two general ways a ‘bag of money’ movie can go: Navigating the intricate set-up that is revealed through a constant series of revelations and double-crosses that the anti-hero must navigate in order to keep the cash
Jason says: “I know a fair amount of people who tend to judge movies in large part based on how much they agree with how the characters act. I suspect most of us do so a little more than we’d
Jason says: “It happens all the time: An action-comedy starts out funny, but when building to a climax, the action so completely takes over that the thing that got the audience hooked at the beginning is almost completely lost. SECRETLY
Kyle says: “The North American Premiere of PRIDYIDER (FRIDGE) was presented under the New York Asian Film Festival rubric of ‘Manila Chronicles: The New Filipino Cinema.’ Yes, it’s about a refrigerator that kills people. And it’s so clear-headed and good-natured
Bruce says: “POWERLESS examines two sides of the ‘power struggle’ in Kampur, a metropolitan area of approximately three million people. Kampur has had no increase in its power supply for twenty-two years although the population has tripled during that time.
Bruce says: “THE PLAYROOM’s sin is one of omission. There is just not enough substance. One scene in particular is revisited time after time. A voiceover is also repetitious. No doubt Julia Dyer believed repetition would reinforce the moment. That
Chris says: “Best known for his creative 1960s opening credit sequences (WHAT’S NEW PUSSYCAT?) and truly innovative work on WHO FRAMED ROGER RABBIT?, Canadian-born, British-based animator Richard Williams would have preferred universal recognition for THE THIEF AND THE COBBLER, a