Michael says: “No one has mentioned CONCUSSION in all this, and I have to say, I was quite surprised when Brian pitched it so hard at the Nominating Committee meeting, and even more surprised at how much I enjoyed it.
Kyle says: “THE CONCUBINE received its North American Premiere at the New York Asian Film Festival. Fans of the hit HBO television series GAME OF THRONES will feel right at home, although I am not sure that is the proper
Kyle says: “COMRADE KIM GOES FLYING received its New York Premiere and was hailed by ‘Film Comment’ Editor Gavin Smith as the first North Korean film ever presented at the Film Society of Lincoln Center. The occasion was greeted with
Jason says: “I think I’m done with Andrew Bujalski. I’ve seen three of his four films, and even the one I kind of liked didn’t really impress me. And while I can see some merit in the ones like COMPUTER
Jason says: “THE COMPANY YOU KEEP can play a bit like a brute-force attack at times – sure, it’s kind of slow at times and eventually the audience winds up a couple steps ahead of the protagonist, but every ten
Jason says: “Hideo Nakata’s new one seems to start out with such promise – creepy visuals, a likable lead, the possibility of a whole apartment complex haunted with ghosts, and a knack for building tension out of small, real things
Thom says: “Batko becomes the master in his creation of an invisible web of informants by a group of revolutionaries that end up spying on each other. He controls his own secret fount of information. After the fall of communism,
Kyle says: “THE GREAT WAR, DRUG WAR, COLD WAR, lots of movies about wars ancient, modern, political and imaginary: After dozens of these at the New York Asian Film Festival, it is a little confusing to remember which war is
Jason says: “It says something about humanity, the world we live in, or perhaps just me personally, that I’m bored by the brand of paranoia that keeps CLOSED CIRCUIT running. Is that in spite of how visible abuse of power
Chris says: “I’ve waited years for someone to make a film out of one of David Sedaris’ autobiographical essays, knowing that any attempt could go either way (see Ryan Murphy’s meh version of Augusten Burroughs’ RUNNING WITH SCISSORS). Fortunately, this