Bruce says: “Joachim Trier ventures into English-speaking territory with a story of a family grieving for a wife/mother. Grieving, contrary to those who believe in absolutes, has ambivalent dimensions. The acting, directing and production values are way above par; however
Thom says: “LA LA LAND is a pleasant film that will probably be ever remembered as the movie that won a Best Film Oscar only to be announced seconds later that it hadn’t received the prize statuette, but rather the
Jason says: “Like a lot of movies where the filmmakers want to both celebrate family and build a story about what kind of stresses it can place on people, KAPOOR AND SONS can swing from one to the other fast
Bruce says: “Hany Abu-hassad would seem an unlikely director of a biopic. His earlier films, RANA’S WEDDING, PARADISE NOW, and OMAR have documented the effects of Israeli enforced apartheid on the Palestinian community. While THE IDOL has many of those
Michael says: “Just watched a pretty accomplished film called THE FAMILY FANG, starring Nicole Kidman and Jason Bateman, directed by Bateman. This offbeat tale looks at the Fang family, led by a pair of performance artists who put their two
Jason says: “The shots of present-day ruins that open EMBERS are a reminder of sorts that worlds end all the time, on the scale of individual hopes and dreams, though those tiny apocalypses are often part of a greater calamity.
Jason says: “DETECTIVE CHINATOWN inevitably runs head-on into the biggest problem screwball mysteries face – it is extremely difficult to take both your slapstick comedy and murder investigation seriously in the same story – but manages to be impressively entertaining
Jason says: “There’s a plot to CREATIVE CONTROL to go with its speculative elements, but truth be told, it’s not at its strongest when either of those are front and center. Instead, it sings when the filmmakers find nifty little
Jason says: “Truth be told, I’m kind of surprised we haven’t seen more things like BAND OF ROBBERS since various Sherlock Holmes projects showed that audiences would go for beloved nineteenth-century characters reinvented for the modern age, if only because
Jason says: “Sometimes, I feel like I’m an easy mark for movies like ALREADY TOMORROW IN HONG KONG – they are basically two people flirting for an hour or two while walking around a foreign city, allowing the viewer to