Jason says: “The train thriller is almost a genre in itself: You get a group of people on a train, something bad happens, and the characters have to figure out who can’t be trusted by the rest, and the impending
Bruce says: “TELL NO ONE is the first of Harlan Coben’s novels to be adapted for the screen. This novel is not from Coben’s famous mystery series featuring sports agent Myron Bolitar. A film version of DEAL BREAKER, which is
Bruce says: “TAXI TO THE DARK SIDE would have been an entirely different experience had I not already seen Rory Kennedy’s superior GHOSTS OF ABU GHRAIB and Michael Winterbottom’s more experimental ROAD TO GUANTANAMO, two films which made it to
Jason says: “As much as I love Takashi Miike for being an outrageous filmmaker who does unpredictable things, I sometimes wonder if that can be a double-edged sword. SUKIYAKI WESTERN DJANGO is unabashedly a gimmick movie; if you’ve heard about
Jason says: “STUCK is based on a true story that made headlines a few years back, although much-beloved cult filmmaker Stuart Gordon has changed almost all the details to make a feature-length film out of it. That’s fine, though; the
Jason says: “One of the few things I miss about living in the suburbs versus the city is that it’s difficult for me to keep a dog. My family had them while I was growing up, and I envy my
Beth says: “About a sadsack of an Argentinian writer with writer’s block who finds out that, thanks to a longtime ‘friend’, he is famous in Spain as the quirky leading character in a hit TV show called The Paranoids…a character
Bruce says: “Nesrin’s husband thinks she is frigid. Nesrin’s son Murat is truant and so detached from reality he seems suicidal. He thinks his mother is controlling. Nesrin’s sister Güzin, a professional single woman, has a destructive relationship going. Their
Jason says: “Before CASINO ROYALE was made into a big, modern movie with Daniel Craig, there were persistent rumors about Quentin Tarantino wanting to take a crack at it, but having it take place in the Cold War period when
Michael says: “When Liev Schreiber saw an MTV profile shortly after the fall of Baghdad about Muthana, a young Iraqi who yearned to be a filmmaker, he was touched by the challenges the charismatic young man faced. Schreiber was about