Kyle says: “SALVATION ARMY is a re-working of the autobiographical novel also written by Abdellah Taïa, who is making his directorial debut with this film. The first mainstream gay Moroccan film, Taïa tells the story of growing up poor and
Jason says: “There have been many, many films built around the twin premises that the family next door that’s too perfect to be true really isn’t, and that they have their own problems. RED FAMILY doesn’t go a completely new
Jason says: “I’m sure that the title of PUZZLE was supposed to describe the sensation of watching it to a certain extent, although there were several times that I think filmmaker Eisuke Naito may not necessarily have meant to set
Jason says: “Though it’s not uncommon to encounter one that makes a good case for its greater length at all, most horror movies would be best served running seventy-five to eighty minutes, long enough to set a story up, make
Jason says: “That they can be given names as generic as PIRATES OF THE CARIBBEAN or, in this case, just THE PIRATES without fear of confusion means just one thing: There are not enough pirate movies being made these days.
Chris says: “Roy Andersson makes movies that could come from no other director. I suppose most film buffs can detect plentiful influences on his style: the more overtly comic works of Luis Bunuel and David Lynch, naturally fellow Swede Ingmar
Jason says: “GRAND PIANO is evidence that, with enough creativity and energy, a clever filmmaker can make an exciting thriller out of what may seem like unlikely activities and situations. In this case, it’s a man playing classical piano before
Jason says: “Why, Fantasia (and other) programmers, do you insist on scheduling nearly wordless movies for 10pm (or later)? I get that they’re often enough of an acquired taste to keep out of prime time, but it can be rough
Diane says: “Jim Jarmusch gives us another lovely, delicately realized, witty film. Thanks, Kyle, for your writing on the soundtrack. “I always wish that Tilda Swinton could be more chameleonic–that is, not be so obviously Tilda Swinton–but I have to
Jason says: “There are filmmakers that like to explain all the details of how their plot devices work, there are those who like to keep a little mystery, and then there are the makers of THE ONE I LOVE, who