Jason says: “I really hope that this one opens fairly wide, because I’d like to give it a second look. I came out of it with an odd sort of ambivalence, liking almost all of what it did but feeling
Jason says: “As far as I can tell, the first ‘Qian Ren’ (‘Ex Files’) didn’t have any sort of official release in North America when it came out last year, but that probably doesn’t much matter – though I would
Jason says: “Perhaps surprisingly for an underground film festival, a lot of people coming into this show were using the phrase used to describe it in the program – ‘body horror’ – like it was two words that they had
Thom says: “If I hadn’t gotten a chance to see this gratis I might have passed as the director has a rather poor track record with me. 12:08 EAST OF BUCHAREST (2006) (3 CATS) & POLICE, ADJECTIVE (2009) (2 CATS).
Kyle says: “When a robot referred to clinically as the A.I., or Ava (Alicia Vikander), tells Caleb (Domhnall Gleeson) that her maker Nathan (Oscar Isaac) is ‘not your friend’ during a power outage, we expect him to pay close attention,
Jason says: “When people describe independent films as pretentious crap and those who like them as pretentious jerks, they’re often referring to things like ENTERTAINMENT, and I can’t exactly blame them. Even when I don’t enjoy a movie, I try
Jason says: “There are a lot of things that can be done with David Lipsky’s interview of David Foster Wallace, and I don’t think that a movie is at the top of the list. The magazine article it was originally
Kyle says: “ENTER THE DANGEROUS MIND, also known confusingly by its working title and alternate Netflix listing as SNAP, is an attempt at a psychological thriller based on a variation of the Faust story. Except this Mephistopheles avatar seems unclear
Chris says: “Nothing in the colorful, florid opening scene, set at an opera performance in postwar Cuba suggests that the bulk of ELEPHANT SONG will unfold at a visually drab, wintry mental hospital in mid-1960s Canada. Similarly, little in the
Jason says: “There is much more to the life of Euphemia ‘Effie’ Gray than the film bearing her name presents; it limits itself to what are likely the three worst years of her life and maintains so tight a focus