Chris says: “Although far less prolific, I’d like to think of Debra Granik as the American Mike Leigh for her depiction (consideration, even) of the working-class without condescending to them. Not as seminal or all-out engrossing as WINTER’SBONE, but teenager
Chris says: “Pretty consistent for what amounts to six separate stories only related by genre (in this case, the Western); also solid for a Coen Brothers film, given how scattershot the last one was. Not as fully realized as NO
Michael says: “Sure it’s got some flaws, but this darkly hilarious romp from TIMEFRAMES director Nacho Vigalondo and star Anne Hathaway was a rollicking good time. After an intriguing prologue featuring a young Korean girl, her mother, and a giant, Godzilla-like kaiju,
Michael says: “Tonight’s fascinating film is called BOKEH, an Icelandic indie that takes gorgeous advantage of that island-countries primordial, pastoral landscapes and otherworldly qualities. A young couple, Riley and Jenai, who are on holiday from the States are enjoying a fun
Jason says: “Michael Moore is likely the world’s best-known documentary filmmaker, and that is an obvious double-edged sword; while his first new film in years will certainly bring in one group of fans, the very fact that it’s from him
Jason says: “Even the titles of Corneliu Porumboiu’s best-known recent films – 12;08 EAST OF BUCHAREST and POLICE, ADJECTIVE – are focused on a sort of precision that can sometimes be maddening and THE TREASURE, (‘Comoara’ in the original Romanian)
Brett says: “TONI ERDMANN is a comedic drama containing a premise that might seem similar to a large number of films, but this is a film that relies on a subtle characterization and timely humor as its backbone, opposed to
Thom says: “I was totally amazed at my appreciation for this film especially because it was for all the wrong reasons, at least as my expectations went. I picked this up due to the presence of Annette Bening, the lovely
Jason says: “William Monahan’s new film is right on the line between the crime movies where the filmmakers are aware of the genre’s tropes and can therefore share a wink as it uses or avoids them and the movies which
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