Jason says: “It would be kind of amusing if, in the future, WHITE REINDEER winds up dropped into the Christmas rotation of independent-minded theaters, television stations, and online-streaming-lists as an apparent poison pill. Not that there aren’t already plenty of
Michael says: “Both thoughtful and whimsical, Arvin Chen’s WILL YOU STILL LOVE ME TOMORROW is a poignant exploration of a married couple’s domestic struggle while trying to have a child, when the husband realizes he cannot deny his homosexuality. Weichung
Bruce says: “The ‘hidden cities,’ the slums of Buenos Aires, are not as famous as the favelas of Rio de Janeiro but that may be because they are a more recent phenomenon. The tribal people of the western mountains bordering
Jason says: “I’m guessing that there’s not a whole lot of money for science fiction filmmaking in Jordan, which is why WHEN TIME BECOMES A WOMAN not only feels less like a movie than a one-act play, but also has
Thom says: “Coming so close on the heels of my viewing of the PARADISE LOST trilogy: THE CHILD MURDERS AT ROBIN HOOD HILLS, REVELATIONS, & PURGATORY, I saw this the week it opened in San Francisco. With a big heft
Thom says: “McGehee & Siegel have long fascinated me starting out with one of the strangest films ever made in SUTURE followed by two great films in THE DEEP END & BEE SEASON. While UNCERTAINTY was a decided letdown, because
Kyle says: “The title is misleading only if your notion of ‘werewolf’ is defined by the usually unclad muscular body of Taylor Lautner as Jacob Black, and CGI transformations into a huge snarling but protective wolf, in THE TWILIGHT SAGA
Jason says: “WE ARE WHAT WE ARE makes a heck of a case for the much-maligned idea of remaking a foreign film in English. Though the original Mexican version was much-beloved by many (I thought it had a great opening
Jason says: “What, exactly, is the difference be ween a crime movie and a caper movie? Scale? The intricacy of the plan? Do the characters being a notch more charming or less working-class change the classification? Or is this just
Thom says: “This new dysfunctional family-on-vacation coming-of-age dramedy is a first time effort from the directors who won the 2012 Oscar for adapted screenplay for THE DESCENDANTS along with Alexander Payne. It’s a decent first effort that is nicely character-driven