Diane says: “First film from collaborators Scott Monahan and Dakota Loesch, ANCHORAGE was shot in five days with a crew of ten. The director and writer also play the two leads, brothers who hit the road to sell a huge
Diane says: “RIDE THE WAVE (Martyn Robertson directs his debut doc) had something for both me and my sweetheart!: Scotland and surfing. WAVE hits highlights and lowlights of three years with Ben Larg, a young Scottish surfer who competes on
Michael says: “After seeing the great director Tsai Ming-liang’s latest film, DAYS, I decided to go back and watch his previous film, and the only of his features that I hadn’t seen, STRAY DOGS. Interestingly enough, while I was braced
Philip says: “Truman blazed a trail with his genius all the while figuring out how to overcompensate for the differences in his persona – his size, his sexuality, his speech. I commend him for being out without any attempt at
Chris says: “Nearly as dry as Bresson, Andreas Fontana’s Buenos Aires, 1980-set film implores one to put in the work into figuring out what it’s all about. Shots of a boat traveling down a foreboding stretch of river reminded me
Michael says: “When Chris mentioned recently that he caught Tsai Ming-liang’s debut feature, REBELS OF THE NEON GOD, I realized that I too had never gone back to watch this film from one of my favorite directors. What I perhaps
Michael says: “Notorious as one of moviedom’s biggest flops, Elaine May’s comedy of errors that puts two befuddled wanna-be songwriters wandering the desert outside of Morocco entangled in a complicated political plot involving the C.I.A., the Emir of Ishtar, and
Michael says: “This pseudo-Western from the early 60’s is very reminiscent of THE LAST PICTURE SHOW, from 8 years later. Both are based in Texas, and both focus on the end of an era. While PICTURE SHOW shows the decline
Michael says: “No one blends silly comedy and heart-rending tragedy like the Australians. In the great tradition of MURIEL’S WEDDING, ELLIE & ABBIE (& ELLIE’S DEAD AUNT) surprises when it’s slight, somewhat innocent comedy takes a sharp turn into a
Michael says: “Right from the very beginning there’s something vaguely stilted and manipulative about MASS. Maybe it’s the way they try to build up so much tension using extraneous characters just to make the film more than just four people