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
Diane says: “Jim Jarmusch gives us another lovely, delicately realized, witty film. Thanks, Kyle, for your writing on the soundtrack. “I always wish that Tilda Swinton could be more chameleonic–that is, not be so obviously Tilda Swinton–but I have to
Jason says: “Once upon a time, the Weinstein brothers might have been able to make the pleasant-enough ONE CHANCE a sleeper hit, if not necessarily an awards contender; today they are barely able to get it noticed. And that’s not
Jason says: “Is Philip Ng the next big martial-arts action star to come out of China? It seems like we’ve been waiting for the generation that comes after Jet Li and Donnie Yen to show up for a while, and
Jason says: “At one point in ON MY WAY, Catherine Deneuve’s Bettie looks at the kid singing some English-language song in the passenger seat, then at the freeway outside the window, and grumbles that she feels like she’s in America.
Jason says: “OMAR starts with its title character scaling a wall to travel between two Palestinian areas of Jerusalem, and while I don’t know the exact rationale for that arrangement, a spy movie can do a heck of a lot
Kyle says: “OF HORSES AND MEN marks an impressive feature film debut by Icelandic stage director Benedikt Erlingsson, as well as film debuts by many of his theater actor colleagues. Beautifully conceived and observed, with the exquisite but forbidding landscapes