Jason says: “I really hope that this one opens fairly wide, because I’d like to give it a second look. I came out of it with an odd sort of ambivalence, liking almost all of what it did but feeling
Jason says: “COP CAR opens by dropping enough swearwords that even parents who missed the R rating might consider pulling their kids out, which is both necessary and a bit of a pity. A family-friendly take on the story could
Jason says: “Allison Pill is carving out a weird niche in terms of sweet elementary school teachers who turn oddly violent between this and SNOWPIERCER, isn’t she? Granted, she’s entirely justified here, as anybody in this movie describing kids as
Jason says: “When I spent more time around various types of animation fandom, the use of actors for whom voice work was just a sideline was a big issue (and that was before DreamWorks had arrived on the scene!). I
Jason says: “Sakura Ando wears some baggy clothes toward the start of 100 YEN LOVE, because she’s actually fairly attractive but this is a character who needs to burn off her frustrating slacker exterior, and that’s how it’s going to
Jason says: “I saw WHITE BIRD IN A BLIZZARD referred to as a coming of age movie, and I don’t necessarily think that designation fits. Not every drama where the characters haven’t graduated from high school yet needs that label;
Jason says: “There’s not a whole lot in UNBEATABLE that’s new; this very combination of a raw young fighter, a coach who has seen better days, and a kid who doesn’t take any guff has probably shown up on screen
Jason says: “SEVENTH CODE is the sort of movie that can easily get lost in a career like Kiyoshi Kurosawa’s: It’s a short thing produced alongside two large projects that sure looks like a promotional tool for its pop-star lead
Jason says: “The first RURONI KENSHIN movie had the look of a franchise starter in the best sort of way, an introduction to an appealing setting and group of characters that leaves the door open for new adventures. The second
Jason says: “Science fiction on film often tends to be action-oriented, even when the filmmakers would really like to be focusing on an idea, if only because an hour and a half of someone spewing jargon is not a natural