Thom says: “It’s been 36 years since director De Palma was in his hey-day as he captured my FILM-OF-THE-YEAR with CARRIE (1976). Since then he’s not been reliable although certainly he’s had such huge successes as SCARFACE and DRESSED TO
Bruce says: “Ulrich Seidl has stirred up a controversy or two with his films IMPORT/EXPORT and PARADISE: LOVE. To understand the fuss it is important to see the film, at least that is the case for PARADISE: LOVE that begins
Jason says: “I was recently reminded that my grandmother reads what I write here, which may be why one of my first reactions to PAPADOPOULOS & SONS was that it would be a good movie to bring parents or grandparents
Jason says: “It is not necessarily difficult for an alternate-reality sci-fi film to hook an audience; it just needs a clever premise and the chance to present it in a familiar setting before playing out how strange it makes the
Jason says: “Addiction to prescription medication is hardly limited to rural America, but it thrives there. The reasons why communities like Oceana, West Viginia have such a serious problem with painkillers like Oxycontin are far from the first concern of
Jason says: “AN OVERSIMPLIFICATION OF HER BEAUTY began life as a short film, ‘How Would You Feel?’, and goes about building that work up to a feature in an unusual way, not so much expanding it but responding to it.
Jason says: “Are you a swimmer?’ asked the man at the ticket booth who knew full well I was there because I had a season pass for this film series. I said I wasn’t, and he pointed out that even
Chris says: “ONLY GOD FORGIVES is similar to DRIVE, only without any redeemable characters, narrative momentum, or moral structure whatsoever. That may sound a little glib, but sadly, it’s not much of an exaggeration. Once again working with director Nicolas
TC says: “To outsiders, Santa Clarita, California looks like a really great place to live. It is less than an hour from Los Angeles, is ranked as #18 among the Top 100 places to live by Money magazine, and sits
Chris says: “The best one can say about this, the first filmed version of Jack Kerouac’s seminal 1957 novel is that it’s not embarrassing. If that sounds like faint praise, it aptly mirrors the film’s modest ambitions. Rather than transform