Jason says: “This shit needs to stop. “Shouldn’t young filmmakers with no money have moved on from spoofing bad 1950s sci-fi by now? It’s too easy a target if the intent is to skewer, and if the goal is to
Jason says: “I LOVE YOU PHILLIP MORRIS opens with a playful variant on the standard disclaimer, something along the lines of ‘This all happened. It really did!’ It’s the sort of movie that might get dismissed as ridiculous or improbable
Jason says: “Bong Joon-ho’s last film, THE HOST, was a great big special effects extravaganza that set the record for ticket sales in South Korea. In many cases, one would expect a director to try and top that in his
Jason says: “Movies like MONSTERS often get graded on a curve because of how much they do with relatively little. Gareth Edwards shot it guerilla-style and had to cram a fair amount of effects shots into a five or six-figure
Thom says: “This film is absolute perfection, defining the art of film, frame-by-frame, scene-by-scene, with so many of the delightful excesses that Jeunet is known for. And don’t count me as a Jeunet Pollyanna, by any means. While I’m a
Bruce says: “MID-AUGUST LUNCH is based on a solid idea but is hampered by a sloppy, unsatisfying execution. Gianni is a dutiful son confronted with dwindling coffers and an insatiable yearning for white wine. He lives with and cares for
Jason says: “The first half of Jean-François Richet’s two-part biography of French gangster Jacques Mesrine, KILLER INSTINCT, was quitE good; the second half, PUBLIC ENEMY NUMBER ONE, is even better: As much as it’s still shuffling a lot of characters
Jason says: “The story of French outlaw Jacques Mesrine is a grand, sprawling one, so large that Jean-François Richet felt the need to split it into two films in order to do it justice. Watching the first one, covering Mesrine’s
Thom says: “With 3 musts-see involved with this project I was really excited about this world premiere. Denis was there for the Q&A but unfortunately Huppert & De Bankolé were not. I had considered Denis one of my TOP 10
Jason says: “Documentaries about artists and art are frequently disappointing. Filmmakers try their best, but as artists themselves they can make intuitive leaps between their subject and his or her work that is not obvious to a general audience, who