Jason says: “Though I can’t recite it from memory or anything, ‘Macbeth’ is probably the bit of Shakespeare that has lodged itself in my head the most firmly ever since high school, and that’s kind of an issue when watching
Jason says: “The first of three Sion Sono films being shown at this year’s festival is a joyous, crazy delight, piling whimsy ever-higher even while Sono reveals a darkness behind it. The great bit, though, is that the pieces that
Jason says: “It’s almost a shame that Gaspar Noé apparently shot LOVE entirely in native 3D, because it might be fun to ask guys doing post-conversion work whether sex was a nice change of pace from the usual violence. That
Jason says: “There’s a potentially great movie-industry satire inside LOVE ON THE CLOUD wrapped in a layer of romantic comedy just thick enough that a viewer will likely wonder whether director Gu Chang-wei and company are doing for something very
Jason says: “Filmmaker Ryan Gosling thanks a number of filmmakers toward the end of the credits to LOST RVIER, some of whom he has worked with as an actor, and of that group, it’s Nicolas Winding Refn who leaps to
Jason says: “There is an unabashed simplicity to LOST AND LOVE that might often be called deceptive by those who might want to praise the film, especially if its early stumbling didn’t quite click with those viewers. That may not
Chris says: “THE ACT OF KILLING is a tough act to follow, let alone surpass, but director Joshua Oppenheimer does just that with THE LOOK OF SILENCE. Billed as a sequel, it’s actually more of a companion piece: whereas the
Kyle says: “To the mountains of writing about Marlon Brando, most famously by legendary film critic Pauline Kael, and most recently by New Yorker writer Richard Brody in a June 23 article suggesting that readers should ‘free yourself from the
Kyle says: “’What I do isn’t about the people that die; it’s about the people that are left alive. They get the short end of the stick, as far as I’m concerned’. This is the moral of a tale told
Chris says: “Andrey Zvyagintsev’s films do not easily conform to concise synopses. One could sum up his first (and best) feature, THE RETURN (2003) as follows: prodigal father suddenly resurfaces and takes his two sons on a road trip where