Michael says: “THE WAITING ROOM is director Peter Nicks’ feature doc debut, and in it, he takes us through 24 hours of a busy hospital emergency waiting room. I joked before I saw it that it was a real look
Jason says: “VULGARIA would certainly be an example of writer/director Pang Ho-Cheung’s incredible recent productivity if it were nothing else; it’s his second film of the year, shot in a ridiculous twelve days. Of course, it is something else –
Jason says: “WAGNER AND ME is probably only going to be terribly educational for those like myself whose musical knowledge is relatively shallow – the folks who sing ‘kill the wab-bit!’ to ourselves when a certain bit of Richard Wagner’s
Bruce says: “‘I’m fighting for generations that come after me,’ Vitto Russo states early in this excellent documentary. ‘When you talk about gay rights you have to talk about Vito,’ a friend tells the camera. Born in east Harlem but
Bruce says: “Three of my Toronto International Film Festival films in 2012 were selected based on a single criterion, that I had never before seen a film from its country. Those countries were Angola, Guatemala and Mozambique. “When Soviet-backed bush
Jason says: “THE VIRAL FACTOR aims to be a throwback to the pre-Hollywood films of John Woo, combining stylish action with even grander melodrama. And while director Dante Lam likely has more in common with today’s John Woo than the
Bruce says: “What begins as a filmmaker’s conceit turns out to be a wonderful sociological essay on rural life in northern Egypt. Namir Abdel Messeeh was born in Egypt and his parents left him behind when they emigrated to France.
Jason says: “V/H/S is an anthology film with six segments (including the spine), each of which is the product of up-and-coming independent [horror] directors, and each of which makes an attempt to do something interesting with the ‘found footage’ conceit.
Jason says: “Times are tough for everybody, although ‘tough’ can be a relative concept. The further you get from the bottom, not only does it get further from what many would consider really difficult, but harder to sympathize, at least
Thom says: “While I’m certainly familiar with many of André Téchiné’s films including THE GIRL ON THE TRAIN, SCENE OF THE CRIME, RENDEZ-VOUS, BAROCCO, STRAYED, THE WITNESSES the only one I’ll truly remember is WILD REEDS (1994). He’s always a