Diane says: “A killer! Bill Cunningham is a New York Times fashion photographer, now 82, whose humility and modest lifestyle belie a single-minded passion. A great study of a man and his unceasing search for beauty. You will fall in
Ibad says: “The Turkish film BAL in English, HONEY is infused with a quiet power. The film’s rich and hauntingly soulful imagery makes it nearly impossible to do the material justice in a single review. BAL is the third film
Chris says: “Outside of England and perhaps a few modern drama departments, playwright Andrea Dunbar remains obscure, a status this unusual documentary hopes to obliterate. Raised on a notoriously tough council estate, she wrote a play (which gives this film
Bruce says: “What a résumé! Margarethe von Trotta is in her fourth decade of making films although she began writing for film in the 60’s when she was in her early twenties. In the seventies she was one of the
Jason says: “I take note of odd credits when watching movies, and maybe any (hypothetical) readers from Denmark could fill me in on a couple from the end of TERRIBLY HAPPY: Is it common for Danish films to credit the
Thom says: “For shame on the movie’s producers inability to get this released in theaters, especially because super-talented Cillian Murphy deserves all sorts of awards for his spectacular work here. Yes, it’s reminiscent of Jeremy Iron’s work in David Cronenberg’s
Jason says: “NEVER LET ME GO is the sort of science fiction that tends to hide its genre or go by another name – ‘speculative fiction’ or ‘slipstream’ – because it wants to associate itself with a different audience. Science
Thom says: “This film is absolute perfection, defining the art of film, frame-by-frame, scene-by-scene, with so many of the delightful excesses that Jeunet is known for. And don’t count me as a Jeunet Pollyanna, by any means. While I’m a
Jason says: “Documentaries about artists and art are frequently disappointing. Filmmakers try their best, but as artists themselves they can make intuitive leaps between their subject and his or her work that is not obvious to a general audience, who
Jason says: “MAKE-OUT WITH VIOLENCE isn’t quite so good as LET THE RIGHT ONE IN, but that’s the film it brings to my mind. Both take horror-movie tropes and twist them into service of a strange story of young love,