Jason says: “FOLKLORE is the sort of comedy that will, over the course of the film, tell the audience about a hundred jokes in the hope that enough hit to make the whole thing worth it. It’s got a hit
Jason says: “It sort of makes sense when Hollywood makes a movie about something that happened outside the borders of America and Europe but makes a white guy the protagonist – silly, but understandable. When a Chinese filmmaker decides that
Bruce says: “Few stars are lovelier than the radiant Juliette Binoche. Her appeal is not superficial for she radiates an inner beauty that infuses her characters. As Anne, a reporter for Elle Magazine, Binoche adds another layer. She comes from
Bruce says: “Winner of three prizes at the 2011 Venice Film Festival, EASY! is a satisfying comedy about parenting and coming of age. Writer director Francesco Bruni, best known for his screenplay for CATERINA IN THE BIG CITY, demonstrates the
Jason says: “As much as I found the festival describing DIMENSIONS: A LINE, A LOOP, A TANGLE OF THREADS (to give it its full title) with ‘Imagine a sci-fi film on PBS’ Masterpiece Theatre’ to be a bit too glibly
Bruce says: “Diana Vreeland is a foolproof subject for a documentary. Famous for her remark to Norman Parkinson regarding his fashion photos from a photo shoot in India , ‘I adore that pink. It’s the navy blue of India,’ Ms.
Jason says: “Some things about DETENTION make me think that director Joseph Kahn isn’t just making a movie for young audiences, but taunting ones my age. A movie that asks ‘how hard is it to be cool in 1992?’ (my
Jason says: “There are many warning signs, but when the person hired to get electronic press kit/making-of footage for a movie comes to the producer and asks if she can hang around more and keep her footage because she thinks
Chris says: “Not exactly a return to form for Tim Burton, but easily the best remake/adaptation he’s done since his BATMAN films. Junk culture like a cheesy horror-laced soap opera seems closer to his heart than Lewis Carroll or Roald
Bruce says: “After their huge success with PERSEPOLIS, filmmakers Marjane Satrapi and Vincent Paronnaud were surprised to find that money for their second feature was so difficult to raise. It’s not that investors were down on the filmmaking duo, rather