Jason says: “As the English-language title suggests, TRUE LEGEND is based upon an actual historical figure, although I strongly suspect that he is, as they say, being ‘used fictitiously.’ After all, you don’t go to a Yuen Woo-ping movie for
Jason says: “When Cristian Mungiu last took audiences to Romania before the fall of communism, he gave us the tense, oppressive 4 MONTHS, 3 WEEKS and 2 DAYS; it seldom referenced the Ceaușescu regime directly, but still managed to perfectly
Diane says: “A film about the pervasive anxiety in our world, through the story of one man’s mental illness. On the literal level, this movie is good at showing the stigma of mental illness and the chaos of delusional disorders.
Jason says: “Did Khavn de la Cruz and Michael Noer stumble upon a potentially fascinating movie by pure chance while walking around the streets of Manila? Or did they know about the subject and gracefully insinuate themselves? Or were things
Jason says: “SILENT SOULS is an art-house movie, more obviously filled with more symbol than story; it’s deliberately oblique at times. In many cases, movies like that want more from their audiences than they’re willing to give, but this one
Diane says: “SENNA, a doc about Brazilian race car driver Ayrton Senna, is well-paced and has some pathos, but it isn’t very deep. One thing that makes it enjoyable is that Senna is awfully handsome. He was the pride of
Michael says: “I was excited to get the opportunity to see RAPT, the latest directorial effort from Chlotrudis Award winner (and past guest) Lucas Belvaux at the Boston French Film Festival this past weekend. RAPT is a political thriller starring
Jason says: “There should be more chess movies, although there are probably more than I think because I just haven’t gotten around to seeing many (I remember Siskel & Ebert raving about FRESH, but I missed it). It’s a game
Jason says: “PUNISHED levels with the audience pretty quickly, opening with two scenes that don’t say everything but make it clear that this movie is less about resolutions than the process of getting there. Later on, it spells out just
Bruce says: “For twenty years Wim Wenders and Pina Bausch planned on making this documentary. Wenders could not get started on the project because he could not figure out how to put her choreography on film. Finally, he decided to