Thom says: “Most ‘movie’ folks have been assiduous followers of the Spanish master Almodóvar since early in his career and I count myself among them although, honestly, I’ve rarely considered the possibility of him going to the TIP-TOP, mainly due
Jason says: “Werner Herzog is the name that will (and should) draw people to HAPPY PEOPLE: A YEAR IN THE TAIGA, although it’s likely that the other credited director, Dmitry Vasyukov, actually spent more time in Siberia gathering footage. However
Michael says: “Of all of William Faulkner’s catalog, I have only read The Sound and the Fury, but that is enough to tell me that James Franco successfully captures the tone and feel of Faulkner in his co-written adaptation of
Jason says: “The world may be a ruined desert in BOUNTY KILLER, complete with the usual settlements built entirely out of wreckage, elaborately made-up bands of wandering savages, and the like, but it’s also one where the one percent have
Jason says: “THE BODY (EL CUERPO in Spanish) is the sort of thriller that to all appearances never lets the audience get too far behind – in fact, it often feels like the viewers are ahead of the characters. That
Jason says: “At times, ALL IS LOST presents itself as pure problem-solving porn: No speaking, no backstory, not necessarily even much of a sense that filmmaker J.C. Chandor has anything else on his mind besides just showing what’s happening to
Thom says: “Naturally, I’ve been expecting this treasure for awhile now. When in New York this past October I’d heard of its imminent release but since it has yet to open here in backwater San Francisco I thought it would
Jason says: “Times are tough for everybody, although ‘tough’ can be a relative concept. The further you get from the bottom, not only does it get further from what many would consider really difficult, but harder to sympathize, at least
Jason says: “Even as mock-documentary movies go, SUNFLOWER HOUR looks kind of bare bones, but partly by design. Of course, even when cheapness is part of the aesthetic, that doesn’t mean a filmmaker knows how to use it – despite
Jason says: “As much as action movies and thrillers will often try to impress by their intricacy and build-up to a spectacular climax, there is something tremendously satisfying to the two-step process that Frédéric Jardin uses for SLEEPLESS NIGHT (NUIT