Thom says: “This period piece about a hermit in Tennessee in the 1930s has its plusses, especially with pretty horses, good photography and editing, finally ends up disappointing. The truculent hermit has a big secret that separates him from the
Jason says: “Disdain for the technique of redrawing voting districts in strange ways for political gain (‘gerrymandering’) doesn’t unite America’s political parties, so much as alternate between them as convenient. Because of this, GRRYMANDERING-the-movie actually has a better chance than
Jason says: “THE FREEBIE is one of those DIY-style movies (it’s too well-spoken and clean-looking to be referred to as ‘mumblecore’) where no writing credits appears; the cast is working from producer/director/star Katie Aselton’s outline. Everyone’s got their own process,
Jason says: “In general, it’s a bad sign when the main character of a movie isn’t the first name you see in the credits. That’s not a rule you can really rely on, since that sort of thing is often
Thom says: “I saw CATFISH & I finally ended up putting in the positive column. It’s very heartwarming in a way. It’s definitely entirely documentary although I thought it wasn’t for some duration. A young man connects with a family
Jason says: “I adore AGORA, and I’ll readily admit that a large part of it is that I agree with the politics and philosophy of the thing. Rather than it being a movie about a scientist who encounters something her
Jason says: “Western movie fans may have some doubts about the provenance of Vipul Amrutlal Shah’s new film, ACTION REPLAYY. It’s an adaptation of a 1994 play with almost the same name (the play spells it correctly), although Warner Brothers,
Thom says: “You might well have thought that due to my living in California & being gay & Proposition 8 being right in my state I would have been more appreciative of this piece of agitprop. It’s certainly not because
Diane says: “I have a problem with Holocaust movies! I can’t help but consider them as entertainment and not as windows into the horror of what happened. When SCHINDLER’S LIST came out, my reaction was ‘movies shouldn’t be made about
Diane says: “Lacking the directorial genius of Jonathan Caouette (TARNATION) and the painfully fascinating subjects of GREY GARDENS, deceased Harvard film prof Richard Rogers tried for twenty-five years to create an autobiographical documentary. He failed. In fact, Rogers called himself