Jason says: “To say one doesn’t see many movies like THE ARTI may understate the case; there is one family in Taiwan not only carrying on a tradition of glove puppetry but using it to make fantastic adventure films like
Jason says: “The best way to review Miguel Gomes’s three-part ARABIAN NIGHTS anthology is probably all at once, rather than writing about the first film before watching the second. I am currently trying that anyway, not knowing if characters will
Jason says: “ANGUISH lives up to its title and spreads it around, doing an impressive job of mixing jump shocks and genuine human discomfort. Despite placing that sort of emotion front and center, though, it has a much broader range
Diane says: “AMY will see a best doc nom from me. Stills and lousy video footage are used to relate the unremittingly bleak chronology of Amy Winehouse’s life in show biz. Director has interviews–or perhaps borrowed sound–from a good range
Jason says: “RUBBER was surreal. WRONG was bizarre. Spinoff WRONG COPS is peculiar. At this rate, Quentin Dupieux is only a few films away from doing something eccentric but basically sensible. Fortunately, he’s not there yet, and the plentiful gags he
Jason says: “The latest from Tetsuya Nakashima is not quite so sublime as his mid-aughts peak (KAMIKAZE GIRLS and MEMORIES OF MATSUKO is a heck of a one-two punch), and it kind of stretches out too long, padded by some
Jason says: “Sometimes, it’s not enough for someone to be shot in the chest. They have to fall off a cliff, and there have to be alligators in the river below. That is the attitude Benny Chan brings to THE
Jason says: “Vicarious travel is one of the more underrated joys of going to the movies even if it can’t carry a film itself, and LE WEEK-END uses it well: It could have just been another nicely-acted argument that runs
Kyle says: “WE COME AS FRIENDS is Austrian director Hubert Sauper’s horrifying documentary about contemporary colonization of South Sudan. Perhaps depressing and infuriating are better adjectives. This constitutes numerous episodes about the exploitation of the resources and manipulation of the
Jason says: “Depending on where in the world it plays, WAJMA may be titled AN AFGHAN LOVE STORY or use that as a subtitle. It’s a somewhat ironic one, as those hoping for a romance that brings either cheer or