Jason says: “MARY KOM opens with the title character going into labor in the middle of an armed rebellion in 2007, and that’s the sort of thing that one might think would have been a bit of a bigger factor
Jason says: “Like a lot of people, I tend to have this vague knowledge that Wallace Shawn is more than the guy with the funny voice and the odd face, that he’s a playwright and an actor who has been
Diane says: “Chlotrudis crunch time is not the time to indulge in this amazing and amazingly simple doc. When nothing had happened after 20 minutes, I had to look up a review to see what I was looking at. (I
TC says: “Having become a major Welles fan after seeing CITIZEN KANE for the first time (I’m embarrassed to admit that was only seven years ago), this look at the man, the myth, and the legend that is, was, and
Diane says: “Alfred Molina and John Lithgow make a sweet pair–married after 39 years together and then thrown into a financial and household crisis. Can you believe those two big men can fit in a bunk bed together? “Lithgow did
Chris says: “This quasi-romance seemingly contains all the right ingredients for an English language remake: appealing leads, the mysterious allure of a missed connection, comic relief from an unseen (but certainly not unheard) neighbor. Fortunately, the one thing preventing such
Bruce says: “LOVE IS THE PERFECT CRIME succeeds largely for two reasons: an excellent cast headed by the able Mathieu Amalric and a moody wintery backdrop of the French Alps exquisitely photographed by Guillaume Deffontaines. Amalric (THE DIVING BELL AND
Jason says: “To say that THE LOOKALIKE starts out kind of charming overlooks what happens in the first few minutes to set things in motion, but it still does well enough in introducing its cast of characters that it looks
Jason says: “Steven Knight’s LOCKE does not take place entirely within the confines of the title character’s car as he makes the ninety-minute drive north to London, as there may in fact be an entire minute or two given to
Chris says: “From a contemporary viewpoint, it’s unexpected to discover that Roger Ebert had no academic background or concentrated expertise in film when he secured his post as The Chicago Sun-Times’ film critic in 1967. Of course, there were few