Diane says: “Did the director mean this to be political commentary, or was that just me? Recently orphaned twins leave Quebec to find family they didn’t know about in an unnamed (fictitious) Middle Eastern country. INCENDIES ultimately is a pretty
Jason says: “At first, THE ILLUSIONIST looks amazingly simple and sweet – two kind people, perhaps not used to having their generosity returned, are lucky enough to find each other and create a life together. To say more may perhaps
Thom says: “Director Niccol was responsible for mediocre sci fi fare GATTACA, & S1mOne so I had no reason to expect more from this new ‘in-the-future’ feature but I did. I did like the novel idea that all humankind lived
Julie says: “Thought this one was very intriguing and well done- although the story pissed me off-you’ll see what I mean- One of my top docs somewhere between 4 3/4 and 5 cats”
Thom says: “Governor Mike Morris (Clooney) is running hot & hard for his party’s Presidential candidacy and the latest crucial primary state is Ohio. His closest competitor is Senator Pullman. Morris’ hot-shot campaign manager Paul Zara (Hoffman in another spot-on
Jason says: “Thrillers like ON THE ICE are traditionally set among shadows and night, with the lines and crags on the actors’ faces all the backstory needed to explain how they wound up in such a spot. Of course, you
Jason says: “Ava DuVernay’s I WILL FOLLOW is a fairly traditional independent film of a certain type: A close, quiet examination of family ties and other relationships, the sort made with a small budget, a single location, and the desire
Diane says: “Documentarian Mark Wexler, affected by the death of his mother, considers mortality and aging. Wexler is unassuming and sympathetic, with a good sense of humor. I laughed a lot. He consults geriatricians, quacks, old people in California nursing
Jason says: “I don’t want genre filmmaking to become a paint-by-numbers affair, where we as an audience rejoice at basic competence and filmmakers strive to replicate a winning formula. Crime, horror, and the like can be innovative and done with
Jason says: “The original version of THE HOUSEMAID is widely considered a classic of Korean cinema, the sort of thing one doesn’t remake lightly. For that film’s fiftieth anniversary, though, that’s what Im Sang-soo did, although it’s the sort of