Jason says: “Someday, perhaps soon, folks may accuse Randy Moore of selling out. After all, while most of the crowd for the opening-night showing of ESCAPE FROM TOMORROW seemed to be there to cheer on poking a finger in the
Chris says: “As dependable as Rohmer or Ozu, Nicole Holofcener could be their modern American equivalent as an auteur director. In terms of style and sensibility, she arguably makes the same film over and over again, but touches on a
Kyle says: “The awkwardly but amusingly Anglicized title EMPEROR VISITS THE HELL is based upon three chapters from the 16th century Chinese novel, Journey to the West” — not to be confused with Hong Kong actor-director Stephen Chow’s recent film
Jason says: “Under normal circumstances, I might grumble about EMPEROR being a case of keeping an interesting story and larger-than-life characters at arm’s length in favor of someone that the audience can perhaps more easily relate to. In this case,
Jason says: “We’ve all heard (or used) some variation on ‘my art comes from a dark place’ before; there’s also its close relative ‘suffering for one’s art’. Not exactly the inspiration you’d expect for a movie named ‘EDDIE: THE SLEEPWALKING
Chris says: “Serviceable—that’s the word I kept thinking of throughout this thriller in which an intelligence agency operative (Brit Marling) infiltrates herself within an eco-terrorist group that targets the agency’s corporate clients. I’m not saying this film, co-written by Marling
Michael says: “Of all of William Faulkner’s catalog, I have only read The Sound and the Fury, but that is enough to tell me that James Franco successfully captures the tone and feel of Faulkner in his co-written adaptation of
Jason says: “You wouldn’t think a genre as hyphenated as the indie-sci-fi-romantic-comedy would have enough entries to have staples, but ‘boy thinks he’s alien/time traveler/robot, making the girl who thinks he’s otherwise sweet uncomfortable’ pops up a fair amount. It
Kyle says: “DUCH, MASTER OF THE FORGES OF HELL was one of the features of the recent series titled ‘Old Ghosts, New Dreams: The Emerging Cambodian Cinema’ shown at the Film Society of Lincoln Center from April 19 to 25,
Kyle says: “The New York Premiere of DRUG WAR brought out enough fans of the great Hong Kong director Johnnie To to fill the Walter Reade Theater, although more than likely, the combination of drugs, cops, criminals and gun battles