Jason says: “Wilderness survival movies don’t get much more basic than PRESERVATION, which takes this budget-friendly premise and builds a passable movie out of it. It’s not going to change the genre, or even necessarily stand out as particularly innovative
Jason says: “If they have any ambition at all, both good and bad time-travel movies make the viewer’s head hurt a little bit thinking about how the plot fits together; the good ones make the us like it. By that
Jason says: “PING PONG SUMMER could probably stand to be cut down to half its length, which is a bit of a problem because it only runs 92 minutes as it is. Maybe the time it spends hanging out with
Jason says: “That they can be given names as generic as PIRATES OF THE CARIBBEAN or, in this case, just THE PIRATES without fear of confusion means just one thing: There are not enough pirate movies being made these days.
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