Thom says: “The film was superbly made with extraordinary effects that made for a real thrill ride. It’s the first time I’ve seen what I would call a disaster/horror film with instead of a pack of zombies after such cataclysmic
Thom says: “It’s always nice to see ‘Six Feet Under’ alumnus Ambrose back on the boards and she fits her role here like a glove. Here she plays a down-on-her-luck single mother (Angela) with a precocious young daughter living in
Jason says: “BULLHEAD stands as evidence that if you make the effort, you can find an epic tale in the most unlikely of places. Here, writer/director Michael R. Roskam takes us to a cattle farm in Limburg, Belgium, where seemingly
Chris says: “After watching TABLOID, you wonder why it took so long for someone to make a film about Joyce McKinney. Her fascinating, stranger-than-fiction life story aside, she just blooms in front of the camera without giving off the pretense
Bruce says: “THE SKIN I LIVE IN is an adaptation of the French novel Mygale by Thierry Jonquet. Judging from what I have read about the novel, Almodóvar’s adaptation is a very loose one. For a decade I have wished
Jason says: “As hooks go, it’s tough to beat the one Lars von Trier uses to start MELANCHOLIA: The world ends in such slow motion that time almost seems to be standing still. It’s a fantastic scene of planetary destruction,
Thom says: “This stunning documentary follows a Texas death row inmate up to & shortly after his execution. One of the points that comes across the best is that the film never questions the guilt of the inmate. Herzog has
Jason says: “Bong Joon-ho’s last film, THE HOST, was a great big special effects extravaganza that set the record for ticket sales in South Korea. In many cases, one would expect a director to try and top that in his
Chris says: “American remakes of French films are usually trite, dumbed-down abominations, so does it follow that a French remake of an American film should have the opposite effect? I can’t fully say—I haven’t seen the original, James Toback’s FINGERS
Bruce says: “When Vera Drake (Imelda Staunton) is instructed by a jail matron to take off her wedding ring, she wrinkles her face in pain and says ‘I can’t. It’s never been off in twenty seven years.’ She does manage