Jason says: “WAR DON DON was what they shouted about ten years ago in Sierra Leone to announce that a vicious civil war (one barely reported abroad) was over. The end of a war, however, is seldom accompanied by an
Jason says: “The hackneyed phrase that is often used to describe this movie is ‘a Serbian AMELIE,’ which I think does it a disservice because, well, I didn’t like AMELIE much at all. Gilliam might be a better comparison; after
Jason says: “So, if you’re making a movie about the birth of Muslim punk rock, who do you put at the center? Even if you know the players, that might not be as obvious as it seems: The word ‘taqwacore’
Thom says: “I was all set to watch this out of obligation. Not that I haven’t been a strong advocate my entire life of universal acceptance and love but this was a story I’m intimately familiar with because of demonstrating
Bruce says: “Director Mat Whitecross figures that a straightforward biopic could not possibly do Ian Dury justice. His artistic decisions pay off. SEX & DRUGS & ROCK & ROLL is a nontraditional take on a very nontraditional subject. In addition
Chris says: “I’ve always struggled with war films (both fictional and docs)—it’s possibly my least favorite genre. But I loved THE HURT LOCKER and if this isn’t exactly its real-life equivalent, that’s fine because it aims for something else. Not
Thom says: “The original [REC] is considered a classic amongst the horror set and it was even remade in the United States as QUARANTINE, starring ‘Dexter’s’ wife. This, then, is the ongoing story. It’s very scary and fabulously entertaining but
Jason says: “RARE EXPORTS appears to be the third go-round that Finnish director Jalmari Helander and his brother Juuso have had with this basic idea, with the previous iterations apparently being punchline-driven shorts. This one, on the other hand, is
Bruce says: “After scoring big with his last two films, READ MY LIPS and THE BEAT THAT MY HEART SKIPPED, the buzz at Cannes this year was that Jacques Audiard’s A PROPHET would walk away with the top prize; instead
Michael says: “I often go through a brief film malaise in the early part of the year. Between catching up to vote in the Chlotrudis Awards and the general lack of quality films released in the beginning of the year,