Michael says: “Workshopped at the Sundance Institute, this whistle-blowing documentary about the social media industry was picked up by Netflix. While not all that surprising for anyone who’s paying attention, it’s still pretty chilling as it paints a picture of
Michael says: “The one-line synopsis on the Internet Movie Database for WE ARE LITTLE ZOMBIES states, ‘Four Japanese orphans form a rock band.’ While that statement is a fact, it barely scratches the surface of this fun, colorful, frankly, insane
Michael says: “There’s a bit of a thread between COMING HOME AGAIN and MONSOON. Both deal with Asian families, and particularly sons dealing with the death of parents, and difficulty of accessing emotions. But where COMING HOME AGAIN was more
Michael says: “This gentle film about losing a parent was based on an autobiographical ‘New Yorker’ essay written by Chang-Rae Lee, who then co-wrote the screenplay with director Wayne Wang, best known for his adaptation of Amy Tan’s THE JOY LUCK
Diane says: “I’ll put UNCLE FRANK a notch above a Hallmark movie. An Amazon original by Alan Ball (screenplay, AMERICAN BEAUTY), this 1970s-set drama uses the perspective of adolescent Beth (well played by Sophia Lillis) who yearns for something more
Michael says: “There’s something about a Peter Weir film that appeals to me… even if I don’t like the film overall. Case in point: I’m not a fan of DEAD POET’S SOCIETY in the least, but I can’t deny the
Michael says: “I was reading a negative review of TRIGGER, Bruce McDonald’s spiritual sequel to HARD CORE LOGO, starring Molly Parker and Tracy Wright, when a line caught my eye. Paraphrased, it something to the effect of while TRIGGER was
Diane says: “In a part of Mexico wracked with violent gangs, Ulises is the leader of a group of young dancers, Los Terkos. Day after day they get together to hone their moves to cumbia, slowed-down Colombian songs. Ulises is