Chris says: “Roy Andersson makes movies that could come from no other director. I suppose most film buffs can detect plentiful influences on his style: the more overtly comic works of Luis Bunuel and David Lynch, naturally fellow Swede Ingmar
Jason says: “GRAND PIANO is evidence that, with enough creativity and energy, a clever filmmaker can make an exciting thriller out of what may seem like unlikely activities and situations. In this case, it’s a man playing classical piano before
Jason says: “Science fiction on film often tends to be action-oriented, even when the filmmakers would really like to be focusing on an idea, if only because an hour and a half of someone spewing jargon is not a natural
Jason says: “Lots of sci-fi movies will have scenes of scientists frantically scribbling on chalkboards, with the directors at a loss for how to make this exciting. I don’t envy them their task; it’s usually being done by a new
Jason says: “That James Franco always seems to have more ambition than one would think should have stopped surprising me a few of his less mainstream projects ago, but it hasn’t. It should no longer shock to see another member
Jason says: “In addition to his film work, Takashi Miike has directed a few stage productions, experience that he likely dipped into for OVER YOUR DEAD BODY (KUIME in Japanese). At times, I kind of wish that was where the
Jason says: “THE OVERNIGHTERS starts with economics on-screen and probably could have the same sort of genesis as a project: The fracking-based oil boom in North Dakota brings people there in search of jobs that pay well, but a lack
Bruce says: “Critics, fans and detractors alike, have compared Hong Sang-soo to Yasujiro Ozu largely because he is perceived as making the same film over and over OUR SUNHI clearly has broken that mold if for no other reason than
Jason says: “Why, Fantasia (and other) programmers, do you insist on scheduling nearly wordless movies for 10pm (or later)? I get that they’re often enough of an acquired taste to keep out of prime time, but it can be rough
Jason says: “There are filmmakers that like to explain all the details of how their plot devices work, there are those who like to keep a little mystery, and then there are the makers of THE ONE I LOVE, who