Kyle says: “‘All I want is a normal life.’ The moment this line is delivered by James (Spencer Lofranco) in the running time of JAMESY BOY is startling, first because every action and character preceding has made sure this is
Bruce says: “No one can accuse Laurent Cantet of making the same film over and over. Although his first film was not even released in his home country, his auspicious second feature HUMAN RESOURCES (1999) resonated with filmgoers around the
Jason says: “It’s been far too long since I’ve read far too little Dickens, but that actually matters not a whit in appreciating THE INVISIBLE WOMAN; though knowing some details of his work certainly will help, this story of him
Jason says: “It’s a horribly clinical thing to say, but building a movie around someone who committed suicide requires even more care than other documentaries. It distorts the audience’s perceptions and makes the filmmaker walk on eggshells, and in the
Bruce says: “Years ago there was a New Yorker cartoon with two old women on a bus. One was saying to the other, ‘the way I understand it is: if everyone in the world were stoned except for us, then
Bruce says: “Films from other countries often are less appreciated than they should be due to the gap in understanding of those countries mores and taboos. In the case of IN HER PLACE, knowing about the South Korean taboo of
Thom says: “Other than BOOGIE NIGHTS, which I loathed, I’ve been a fan of Paul Thomas Anderson films, although, truth-to-tell I’ve only given my highest rating to THERE WILL BE BLOOD. And there were really great parts of MAGNOLIA, PUNCH-DRUNK
Jason says: “Where is the exact line between a movie being a darkly funny revenge story and a full-on, pitch-black dark comedy? In the case of IN ORDER OF DISAPPEARANCE, I think it is crossed early on in a gag
Jason says: “You can finish ILO ILO and come away feeling like you’ve seen something more uplifting than it really is, and it would not shock me if a fair amount of people identified with the parents of a problem
Jason says: “The first shot of THE IMMIGRANT- the Statue of Liberty seen from behind, through a brownish fog – is certainly the sort that let the audience know just what the next two hours have in store. Director James