Chris says: “From a contemporary viewpoint, it’s unexpected to discover that Roger Ebert had no academic background or concentrated expertise in film when he secured his post as The Chicago Sun-Times’ film critic in 1967. Of course, there were few
Jason says: “There is something to be said for filmmakers (or anyone) getting out of their comfort zone. Both directors Aaron Katz and Martha Stephens are known for certain types of movies – Katz for some of the better youth-oriented
Kyle says: “THE JAPANESE DOG is yet another outstanding film from what cineastes refer to as either the Romanian New Wave or the New Romanian Cinema. The title refers to a plastic toy dog that waddles, flashes lights, talks ‘baby
Jason says: “Where is the exact line between a movie being a darkly funny revenge story and a full-on, pitch-black dark comedy? In the case of IN ORDER OF DISAPPEARANCE, I think it is crossed early on in a gag
Jason says: “You can finish ILO ILO and come away feeling like you’ve seen something more uplifting than it really is, and it would not shock me if a fair amount of people identified with the parents of a problem
Jason says: “I can’t recall Tommy Lee Jones ever working with Werner Herzog at any point, and that’s probably for the best. THE HOMESMAN suggest they may be too much on the same page about how the untamed wilderness not
Jason says: “There’s a whiff of nostalgia to the start of GIOVANNI’S ISLAND, although it’s more for childhood in general than the yearning for simpler, presumably better times that can often infect Japanese cinema, but that passes. Indeed, it’s hard
Jason says: “Not being a drinker, I’m probably appropriating a terrible metaphor here, but this movie strikes me as being like a certain kind of binge: You start out down, but soon the alcohol gets you and everything is crazy
Jason says: “I didn’t quite avoid LOVE ETERNAL when it played at another festival last year, but I certainly didn’t have much trouble choosing what was on the other screen whenever the Irish death-fetish film was playing. I’m not saying
Brett says: “CUB is a film loaded with potential for a horror film, taking its premise from the campfire stories that are commonplace among scouts crowded around the camp fire in the woods on a weekend retreat. This premise is