Brett says: “Equal parts messy and well-crafted, out of this year’s many films to feature the trials and pitfalls of singer stardom, this one will takes the prize for most unique and likely the most authentic. This particular film carries
Chris says: “Despite the title-referencing dance step, where one always ends up in the same place where one started, this is continually unpredictable to a degree most other films are not. The extended mid-section swaps the bookending domestic melodrama for
Michael says: “WEIGHTLESS is notable to me for giving the handsome and talented Alessandro Nivola a challenging leading role as Joel, a troubled man working in a landfill in rural America. There’s reference to mental illness, and an occasional explosion
Chris says: “Excessively funny and appropriately dark, from the ‘musical emergency’ opening to the slapstick moving-of-the-body to a deliriously profane argument playing out in front of a small child. I may need a second viewing to determine whether this is
Chris says: “Never a movie star but definitely a character, Scotty Bowers’ life was inadvertently custom-built for a documentary. He ran a brothel inside a Hollywood Blvd. gas station in the years following World WarII, one that infamously catered to
Jason says: “About ten years ago, Stephen Chow Sing-chi was briefly kind of popular in the States when the writer/director/star’s quick one-two punch of SHAOLIN SOCCER and KUNG FU HUSTLE, followed by CJ7, had pretty good theatrical runs for foreign
Jason says: “It’s no bad thing, I say, that WYRMWOOD feels like a season’s worth of an eventful TV series packed into an hour and a half; it’s an exhausting ride at times, but there’s not ten or fifteen minutes
Jason says: “Welcome back Ringo Lam, a director who has been absent from the Hong Kong movie scene for too long, but who doesn’t really seem to have missed a beat with this neon-noir. In many ways, Hong Kong cinemas
Jason says: “THE VISIT is apparently meant to be the second in a thematic trilogy of documentaries by Danish filmmaker Michael Madsen, and I’m curious what grand-scaled idea will round them out. I hope it’s something a little more like
Jason says: “I suspect that many watching (T)ERROR, even with plentiful assurances to the contrary, will be expecting that, by the end, a curtain will be pulled back to reveal the film as fictitious, heavy on re-enactments, or some other